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The stuff that dreams are made of

        LET'S DO LUNCH!

LET'S DO LUNCH - is a story exploration situation. Stoneking will not read your screenplay. You will pitch the basic idea and tell him the basic story and he will ask you questions and make comments concerning the story and its characters, alerting you to its hidden strengths and weaknesses whilst encouraging and illuminating your own relationship with the characters and themes inherent in the action. In short, your session with Stoneking will propel you back into the process of writing with a renewed vigour and awareness of what is happening textually and sub- textually.  KEEP READING... 

Informal script consults with Billy Marshall Stoneking

The Rationale 

In the course of writing your next film, there will be times when all you really want is someone you can sit down and talk to about the story, the characters and the process. You don't want a script editor or an exhaustive assessment; you don't want someone - like your partner - who's going to tell you it's great simply because they believe in you and your talent. What you want is an honest-to-god conversation with someone that understands drama and the journey and terror of writing a dramatic screenplay, someone with whom you can air your anxieties concerning what you're doing, who will assist you in uncovering some of the as-yet-undiscovered possibilities concerning the story that is trying to get itself told. If you're feeling lost in the project or doubting its worth, or suddenly lacking the confidence needed to finish the next draft, book yourself in for a conversation and a coffee.  

The popularity and success of this informal and inspiring approach to script development has already been phenomenal. Have a look at the TESTIMONIALS page to see what others have said. 

Satisfaction guaranteed or you pay NOTHING. So, let's do lunch, eh? and talk about it.


Writers and writer/directors, producers, and others with a project at any stage of development are invited to book a consult now.

FACE-TO-FACE CONSULTS are available for those in Sydney. Venues: Glebe Public Library (Cnr Glebe Pt Road & Wigram Rd) or Fundamental Food Flamminn, Glebe Pt Rd, Glebe (across from The Shop Gallery, 112 Glebe Point Road, Glebe)  Mondays - Fridays (by appointment only, USE "CONTACT ME" tab) 

Location details at https://www.facebook.com/pages/Fundamental-Food-Flamminn-Glebe/204598796217170?sk=info

SKYPE CONSULTS are also available by appointment - Use CONTACT ME tab for inquiries or write to stonekingseminars@hotmail.com 

Book your 1- or 2-hour session

Special rate: Only $70 per hour

(or part thereof) 

BUY a 1-hour or 2-hour session NOW at



Satisfaction guaranteed or you pay nothing !!

  SKYPE ID: billy.marshall.stoneking


"I 'did lunch' with Billy today. We discussed two of my projects, one a stage play in its gestation phase and the other a completed screenplay that needs a good rethinking. It was an amazing process to free range the possibilities present in both ideas. It was a comfortable and easy chat, but also so much more. It was challenging and affirming at the same time. Billy's ability to get below the surface and trigger a much deeper exploration of both ideas was exciting."

James Balian

Don't let bad script advice drive you to distraction or worse.


  Visit Billy Stoneking's profile on Pinterest.


 It's important that a script editor be an "encourager", which is not the same thing as someone that gives a writer permission to be mediocre. I have worked with writers that tell me later how frightened they were of what I might say about their stories or scripts. I imagine that there are some that have managed to avoid me altogether because they weren't able to manage the anxiety the mere thought of working with me produced in them. That's okay. If you have that much fear you're probably not going to allow yourself to hear what I have to say anyway. I like to think that what I do is illuminating to a writer - that my responses to their story, whether through questions or probing comments - is shining a light into the places they have not yet visited or thought about. My job is to encourage insight and awareness, and through that some degree of courage. It's not to fool them into a false sense of security.


- Billy M. Stoneking



5 Questions You Must Answer

to Survive Script Development 

Mark Sanderson

Okay, you’re a Screenwriter—but are you a Team Player?  You’ve probably written a handful of spec screenplays and enjoyed the process of having everything on the page be your vision, words and creative ideas. It’s truly a safe and protected bubble that will burst the moment you unleash your screenplay upon Hollywood. When your script moves on to the next level, you must prepare yourself for the development process. This is when the real work begins and your experience and attitude can determine if you’ll stay on the project or be fired.

During my fifteen years of professional screenwriting experience, I’ve learned the importance of being the team player during the development and production process. As a result, I’ve built important and lasting relationships with producers, executives and directors who have welcomed me to be part of the overall process. I’ve also been invited to every set of every movie that I’ve written and even traveled out of state and the country to work on production rewrites. This important collaboration was only possible because I built my reputation as a team player that gets the job done.

You’ll need to honestly answer these five important questions to honestly self-assess how you’ll collaborate in the development process. If you can’t answer every one with a solid “yes” — then you have work to do.


#1:  Have you mastered the ability to take constructive criticism and professionally execute producer’s notes without griping and grimacing during the experience?

It’s not about you or your ego anymore—everyone is there to service the project and make the best film possible. You’ll stay on your projects as the screenwriter if you’re not a temperamental diva. I know the constant barrage of notes and changes can make you frustrated and angry. Avoid the temptation to go down a destructive pathway with these emotions. This is why you’ll need to detach from the work and see the bigger picture. Help the producers develop a script that will attract the financing, the best director and actors to the project. Making a film involves a team effort and producers will hire a talented team player that helps over a pain in the ass that has no regard for professionalism. 


#2:  Can you be trusted to meet your deadlines and turn in your work on schedule or early? 

If they can trust you, then you’ll build your integrity as a team player and important collaborator. During the development, pre-production and production stages, the producers and directors I’ve worked with know they can send me notes and I’ll have the changes back to them the next morning. My mantra is “whatever needs to be done.” This is the time when you’ll be asked to deliver the goods at the top of your game. It’s also a test for them to see how you’ll react under pressure. As you know, making any film is a collaborative artistic endeavor and your script is the integral blueprint of the film. Meeting your deadlines is also a necessary discipline for any real chance at success in Hollywood.


#3:  Do you always go above and beyond what is asked of you to the best of your ability at the time?

People in Hollywood generally like to work with those people who they’ve had a positive experience with in the past. So, always deliver your best work, every time, regardless of your salary and don’t ever gripe about the job. Go the extra mile and show them how much you care about getting the project made and how seriously you take your work. Most great producers have their radar up early on to detect if a screenwriter is going to be easy or difficult when it comes to development and rewrites.


#4:  Are you acting like a true collaborator and professional?

As you’re the screenwriter, do your best to be the creative repository of knowledge about the script for the director, producer and actors.  No one will know the script better than you the screenwriter. It’s important leverage, so use your advantage as the “go to person” and make them want to keep you around. As I mentioned before, do everything you can to help them develop a screenplay that will attract the other talent and financing. Lend all of your support and offer creative suggestions to make the best project possible. That’s the end game—you’re paid, the movie is produced and you receive your screen credit.


#5:  Are you building your reputation and integrity?

Remember that every new project is a chance to build new relationships and show the producers and executives they can trust you by being a person of your word. Your talent is equally as important as your professional work ethic and your attitude and these are the characteristics of a professional screenwriter. Hollywood is a small town when it comes to people knowing each other. If word gets out that a producer or director had a difficult working relationship with you it can mean the death of your next job. Be the screenwriter who wants to work and make it all happen. Make a point to clearly show the producers how invaluable you are to the project and why they need to keep you around. If you promise to do something—do it. Your reputation is vital to your working relationships in Hollywood. Over time, these professionals will know they can count on you, that your word means something and you are a team player.

If you answered “yes” to all five questions, congratulations Grasshopper!  You truly are a team player. As you continue on your screenwriting journey, you’ll always discover new opportunities to build your integrity as a professional screenwriter.

Initially, you may not receive the praise you feel that you deserve for all of your hard work. If this happens, be patient, as it will eventually pay off for you over the long haul. Your praise will come in the form of a payment for your writing, a produced film, and a vital part of your screenwriting career—a screen credit. Produced film credits will determine your payment quote for your next project and secure your reputation as a working professional.

Keep screenwriting and keep the faith! 


“Why do you waste your time and mine by trying to get value judgments? Don’t you see that when you get a value judgement, that’s all you have? They are destructive to our proper business, which is curiosity and awareness."

  - John Cage



It's easier than ever to bring one of Australia's best screenplay consultants/script editors onto your project.  If you're lost somewhere in Act Two, have hit "the wall" in Act Three,  or are simply feeling like you're losing sight of the dramatic energy that should be driving your characters and story, book one of our consultants for a face-to-face or SKYPE meeting.

To schedule a booking with either Stoneking, write to stonekingseminars@hotmail.com - select a day and a time, then pay the required amount online (below). Contact all other consultants according to the instructions provided.





I N   A U S T R A L I A




Short-form drama (5-30 pages) 

READING FEES (standard format) :

Flat fee for scripts  : $70

Flat fee for short-film treatments, (up to 6 pages) :  $70


Face-to-face / phone and Skype consults (Short-form dramas & treatments)    $80 per hour (FULL PRICE)  or

$70 per hour (CONCESSION PRICE - Members of WHERE'S THE DRAMA? website, also AWG, ADG, SPAA members)




Short features (50-70 pages)

READING FEES (Standard format) :

Flat fee for scripts  (50 - 70 pages) -  $150.

Flat fee for Treatments (up to 12- pages, space and a half, 12 pt) -  $150. (additional pages : $10 per page or part thereof)

Face-to-face consults (Short features and treatments more than 6 pages) - $100 per hour (FULL PRICE) or

$80 per hour  (CONCESSION PRICE - Members of WHERE'S THE DRAMA? website, also AWG, ADG, SPAA members)



Features (90-120 pages)

READING FEES (Standard format) :  

Flat fee for scripts   (90-120 pages) - $300.

Reading fee for Treatments  (18-25 pages, space and a half, 12 pt)   $220.

Face-to-face/phone/Skype consults (Features)

$200 per hour

$150 per hour (CONCESSION PRICE - Members of WHERE'S THE DRAMA website, also AWG, ADG, SPAA members)




Written assessments also available  (by application)

PLEASE NOTE : These fees are in addition to relevant reading fees

LEVEL ONE ASSESSMENT  (Written assessment for any script or treatment)
Script : 3-5 page written assessment : $750 (Discount)       $950 (full)

Treatment : 3 - 5 pages : $600 (Discount)    $750 (full)


LEVEL TWO ASSESSMENT  (Written assessment for any script)
Script : 6-9 page written assessment : $950 (Discount)        $1,100 (full)
Note: No Level 2 written assessments for treatments.

Example package:

for 105-page feature script (with WTD? AWG, ADG, SPAA Discount)
Reading fee                                  $300
                    Level Two assessment                   $950 
                    Face-to-face (Q & A) x 2 hrs          $300

TOTAL COST                                      $1,550


Book an appointment with Stoneking Seminars using SetMore

PLEASE NOTE: Re Online bookings - Fees listed are hourly rates, or part thereof. Consults are usually conducted in person, but phone and SKYPE are also available.  See "LET'S DO LUNCH" above.




I always wanted to write when I was a kid. And sometimes I did. When I became an adult I still wanted to write. And sometimes I did. But there were distractions. And I let them get in the way. Then, at some point, I didn’t. I got more serious about writing. I started to write stuff. And then more stuff. And pretty soon I was writing a lot. Some good. Some bad. Some produced. Some published. Some not. But the important thing was I was getting stuff down. And I’ve been doing that for over thirty years. And in that time I’ve helped a lot of other people get stuff down or helped them make what they’ve done a bit better. Or even a lot better.I can help you do the same.

After thirty years you develop an instinct for story. It becomes natural. I don’t follow a particular methodology or writing teacher. They all have something good to say. You just have to pick out what works for you. And discard what doesn’t. Everyone’s different and therefore every piece of advice will differ too. Sure, there are similarities. Sure, there are repetitions. Sure, there are common mistakes. But everyone’s an individual. And what you write should be a reflection of that. The solutions to making it better are individual too.

The first thing I try to do is identify and clarify what your intentions are. And whether you are achieving that. What’s your story about? What are the themes? What are you trying to say? Who’s the main character, the protagonist? Who’s the antagonist? What’s at stake? Is it dramatic? Is it funny?  Is it moving? What’s working? What isn’t? What are the ways to make it better? And so on. Sometimes the process is easier than others. But you have to keep digging. The more you dig the more chance there is that you’ll find something, something golden. But you have to keep at it. And that’s not easy. But it is rewarding. Eventually. For you and me too.


For fees & other questions, etc, please contact me in the first instance by EMAIL 








Feeling lost in the project or doubting its worth, or suddenly lacking in the confidence you need to finish the next draft or, book yourself in for a stimulating conversation.  Filmmaker /writer, CHRISTINA CONRAD, offers story consults on a face-to-face basis or via SKYPE.  






Remember: when people tell you something’s wrong or doesn’t work for them, they are almost always right. When they tell you exactly what they think is wrong and how to fix it, they are almost always wrong.

                                                               —  Neil Gaiman 



I N   L O S   A N G E L E S   /   U S A



I currently reside in Los Angeles, California, and my background is in film Development, as I began my career assisting Keanu Reeves and Mike Myers at 3 Arts Entertainment in Los Angeles, and then went on to be a junior executive for Arnold Kopelson at Fox.  I then became the Creative Executive for Harold Ramis on the Fox Lot in Los Angeles, and after that I was an Executive in New York City for Julia Roberts' production company, Shoelace Productions and Revolution Studios East. I am directly responsible for bringing in countless projects to Studios for sale, as well as providing cogent, thoughtful and useful notes for Studios on many projects that were later made into feature films.  I am the author of the popular blog, D-Girl Diary, for which I have a book deal at Harper Collins.  I also have a Masters Degree in Film from the New School for Social Research in New York City.

My main focus when evaluating screenplays is coming up with constructive, tangible ideas that not only could be directly implemented in an effort to improve one's writing, but also serve to illuminate the particular sections of one's writing that fall short in the areas of story, theme and structure.  As I come from the Studio System in Hollywood, I give a close eye towards commerciality, and helping ready one's project for sale, particularly within the studio system. I am known for working closely with writers and offering kind and helpful critiques while helping writers come up with real solutions to specific problems within their story.  I do not charge a reading fee, and the services I offer are:
Screenplay Coverage
  • Log Line 
  • 1-2 page Synopsis 
  • 2-3 pages of Comments  
$100 - within 10 days

$140 - Rush Coverage - within 3 Days
Studio Notes
  • Log Line 
  • 1-2 page Synopsis 
  • 6-8 pages of extensive analysis; such as would be given from a Studio or within the Development process (including Page Notes) 
$240 - within 10 days

$280 - Rush Studio Notes - within 3 Days
Teleplay Coverage
  • Log Line 
  • 1-2 page Synopsis 
  • 2-3 pages of Comments  
$100 - within 10 days

$140 - Rush Teleplay Coverage - within 3 Days
Manuscript Coverage
  • Log Line 
  • 1-2 page Synopsis 
  • 2-3 pages of Comments  
$350 - within 14 days

$400 - Rush Manuscript Coverage - within 6 Days
Film Treatment/Book Proposal
  • Industry Standard Film Treatment, or synopsis of your movie idea, as would be perused by an Industry Executive for sale. Industry Standard Book Proposal including synopsis, description of chapters, biography.  
$500 – Film Treatment/$1000 Book Proposal - within 14 days

Ghostwriting Services/Feature Film, Memoir, Book Adaptations:

Prices Available Upon Request
I can be paid by PayPal - I have set up an account linked to dgirl@dgirlcoverage.com - the
link is on my website www.dgirlcoverage.com 



I got into this biz while working as a PA when the producer asked me to do a coverage of a script he was going to produce.  I said  'sure', completely unaware what coverage was.  The script was To Wong Foo, Thanks for Everything, Love Julie Newmar.  Absolutely loving that script, I thought what a fun job this would be.  Unfortunately, in the years to come, few scripts came even close to matching the wit and uniqueness of that story.

I soon got jobs with HBO, Silver Pictures, CAA, TNT, National Geographic Films and other companies.  In the ensuing years, I have read and covered literally thousands of scripts, having had the pleasure to work on projects such as Life of Pi, World War Z, Hyde Park on Hudson and dozens of others that made it to the big screen.  Some I heartily recommended, while others were produced despite my objections of which I took some guilty pleasure in learning they bombed at the box office.

One reason I think I'm good at this job is because I truly love reading and think my creative skills are invaluable in helping writers improve their scripts.

My rates are $75 for simple coverage, for those writers curious on how their scripts will be received by a production company State-side, and $150 for notes  (3-5 pages).

I also offer a free phone consultation so we may address any specific issues and questions you may have.

Contact me in first instance via email is shiner310@aol.com


If more information or details are required, please write directly to the relevant consultant/editor, or write to Stoneking Seminars

About Our Consultancy Services


Billy Marshall Stoneking & Associates have joined to provide a revolutionary and illuminating script consultancy service for Australian and overseas filmmakers. 

As experienced filmmakers with extensive production credits in both fictional and factional film and television projects, Stoneking and his Associates are keenly aware of the creative and dramatic problems and opportunities confronting screenwriters, writer/directors and producers, struggling to find the characters and the actions by which a compelling and memorable story might be told. Their radical method, which employs the "grammar of drama" in the service of CHARACTER-BASED, MEDIUMISTIC storytelling, has contributed to the success of countless films. 

Long- and short-form dramas that have received the Stoneking treatment have gone on to win major awards at the AFI, BAAFTA and Slamdance, and have garnered two, Academy-Award nominations.

Grounded in a profound understanding and appreciation of DRAMA and COLLABORATION, and developed over years of working with writers, writer/directors, producers and film practitioners, the MEDIUMISTIC method as employed by Stoneking proves that script editing works best when it ILLUMINATES the characters and their story from the writer's personal fears, expectations and prejudices.

Some Definitions:

A DRAMATIC STORY presents an identifiable character  (or characters) whose active pursuit of a goal in the face of seemingly insurmountable opposition and obstacles leads to a satisfying  cessation of the  action, but only  after producing ever-increasing problems with ever-greater risks for the characters while heightening the audience’s emotional involvement.

COLLABORATION is a mutually respectful and creative interaction between skilled individuals working towards a common goal based on a shared understanding concerning the nature of the work they are engaged in.

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“I’ve always believed film is most close to music of all the other arts.”

– Stan Brakhage

S C R I P T   E D I T I N G


STONEKING & ASSOCIATES encourage writers to tell stories that MEAN something to them – that is, stories in which the storyteller has an emotional investment, stories that the storyteller feels passionately connected to and needs to tell.

The role of the script editor is to ILLUMINATE, to assist and guide the cinematic storyteller in uncovering and fully exploring the emotional meanings that lie buried in their characters' actions, and to ensure that that these actions clearly dramatise the storyteller’s understanding of the story world that inhabits him/her.

It is a truism, but probably worth repeating: the journey of the storyteller is a journey of self-discovery. It starts from the known and moves towards the unknown. It isn’t simply a case of the writer writing a story; the story also writes the writer!

Stoneking, himself, has consulted on numerous award-winning and commercially successful shorts and feature films, documentaries and television series, including CHOPPER (Andrew Dominick's AFI award-winning film), GAYBY BABY, THE MAGICIAN (SBS-TV series by Scott Ryan), CROCODILE DREAMING (Darlene Johnson), RICHARD and TWO and CLOWN IN A CROWD (Maya Newell), THE SAVIOUR (Academy-award nominated short by Peter Templeman), BIRTHDAY BOY (Academy-Award nominated short by Sejong Park), OUT ON THE TILES and ALI AND THE BALL (Dendy and St Kilda Festival award-winning films by Alex Holmes), among many many others.



Above: A screenwriters' group in Anaheim, California uses billboards to promote the ideas of their adopted mentor, Billy Marshall Stoneking. This one quotes a line from one of Stoneking's poems, from his book, Singing the Snake       

Courtesy of Woody

"What is writing your story?" is a lot more interesting than the question, "Who is writing it?"


You've spent weeks, maybe months or even years, working with your characters and your story and you're no longer sure if it's as good as you "think" it is... why not go the extra distance and be absolutely certain its as good as it can possibly be before you enter it  into the next screenplay competition or offer it up to a film school selection panel, or an agent or a production company.

For a new screenwriter, breaking into the motion picture industry is never an easy task.  Some enter screenplay competitions in the hope they'll gain much needed exposure. Others query and submit their original screenplays directly to agents and producers.  Whether you choose the screenplay competitions/movie contests or festivals route, or submit your script to agents and producers directly, you only get ONE chance, so make it count! 

The coverage provided by Stoneking & Associates gives you an opportunity to test your screenplay on an astute and objective "audience", and receive the kind of constructive feedback that will illuminate your scripts strengths and weaknesses.    

As part of our Film and TV script coverage services, you'll receive notes covering story, premise, plot, character development, dialogue, structure, format, and production value.

Address initial inquires to:

Script Development, Stoneking Seminars



SCRIPT DOCTOR (skript  dok-ter): A skilled screenwriter called in to assist a film project by rewriting parts of   the screenplay  to  improve  dialogue,  pacing   and   other   elements.

You have at least a 90-page draft of a script that everybody keeps telling you is a GREAT IDEA, but your script sucks.

If you are a producer with a script that needs a polish, contact us! If you are a writer who has written yourself into a hole, contact us!  So long as "we" share your belief in the "greatness" of your idea, we will work with you in the capacity of a paid "ghostwriter" or uncredited co-writer to put your great idea INTO ACTION.

You will work with Billy Marshall Stoneking, or one of Stoneking Seminars' Associates [see below], who will plan an individual writing program that best suits your needs and resources   

(PLEASE NOTE: Current WGA Scale is $19,186.00 for this service).

Using your latest draft as a treatment, then rebuilding the script from scratch, we will show you where the drama is, and give your characters and their story the potency that will attract the interest and enthusiasm that sells. 

For all inquiries about this special service (and our very special rates), please contact the Script Development Unit (see email link above), quoting "SCRIPT DOCTOR SERVICES" in the subject heading.


1. What can I expect from SCRIPT SERVICES that will benefit my screenplay?

In a word: honesty. There are so many people out there telling writers what they think they want to hear. WTD? SCRIPT SERVICES will give you an honest and illuminating response to your work, couched in constructive language that will turn you on to your script’s as-yet-unrealised possibilities. We work with what you have written in order to help you uncover what remains hidden. SCRIPT SERVICES will NOT co-write your screenplay or suggest changes to your work that are not inherently implied by what you have already written. Our job is to conduct you to vantage points from which you can see and better understand what you are writing and why.  


2. How do I know you won't steal my idea or sell it to someone else?

Ideas are a dime a dozen UNTIL they’re written down. Our job is to work with you so that YOUR idea is fully realised, which means assisting you to make it entirely your own.  


3. Your fees seem very high. I mean $100. per hour for a face-to-face consultation – that 's rather dear, isn't it?!

Not as expensive as paying a “hack” $4,000 for a first draft, only to discover (too late) that the script is just as undramatic but in an entirely different way. Our non-standardised fees reflect the highest standard of script consultancy in Australia, and are set by the individual members of the team based upon their individual work practices.  We know you can get a simple analysis for much less, and maybe all you want is someone else’s praise or approval. What SCRIPT SERVICES offers is a window through which you can view what you are doing in a unique way by working with a supportive and experienced writer who understands your fears, and the way in which unconscious assumptions and prejudices can derail the writing process. The consultants at SCRIPT SERVICES may not be able to get rid of your fears, but they will show you how to conduct and transform them so as to better SEE what you are doing and why and what you will need to do in order to break through the barriers that stand between you and the story that wants to get itself told. 


4. Why don't you have a web-based system where I just send you my screenplay, pay up front and wait?

Because if you’re like me, you hate waiting.  Email us first, so we can tell you  how busy we are. Unless we can give you a turnaround in approximately a fortnight, we won’t keep you hanging round, wondering when we’ll get back to you.


5. What file format do you want?

Word.doc or docx please! Or RTF.  Or Celtx.


6. Can you help me find a producer?

No. We look at screenplays from the point of view of character and character actions (dramatic action), and not necessarily as a producer might – although we must add, if you are able to produce a thoroughly compelling screenplay, with fresh and dynamic characters, caught up in a situation that is compelling and original, you’ll be be well on the way to getting the production support you need. Having said this, if I come across a script I really love – and it has happened recently - I'll probably produce it myself (with your consent of course!) 


7. Can I email you and just ask questions first?

Of course. We welcome your questions.

8. What about a telephone consult?

No problems. We work with writers all over the world and telephone is no impediment. We also use SKYPE.


9. What can I expect in a written assessment?

Our assessment strategy is founded upon a proven and lengthy track record based on the belief that constructive, positive criticism is the best way of illuminating the strengths and weaknesses in story and character. The aim of every written assessment is to provide a practical guide and resource for the writer in writing the next draft of their script or treatment.

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Stories in any form are elevated from the mediocre and mundane by virtue of the drama they contain. The same can be said of individual lives, societal groups, sports teams, companies, countries, and film crews. Drama is intrinsic to the human condition, forever part of the life force of human affairs. Growth, experience and achievement are seldom attained without it. The lack of drama is what deflates interest; hence, the pivotal question in the creation and critical evaluation of any artistic or  strategic  endeavor of  merit is  always    WHERE'S THE DRAMA?

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