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To work as a medium, channeling characters and stories, is to immerse yourself in a "show" that appears as if it is being performed by some thing other than yourself. To assent to this metaphor of showing is to acknowledge that there's no better way of entering a story other than surrendering to it and allowing it to enter you, a condition and quality of creative openness. When this happens, the usual demarcations that separate the dreamer from the dream are erased. In jettisoning the ego-centric "self that creates" - the grand puppeteer - we surrender our need to manipulate and judge and allow ourselves to be "told" the story by the characters that are becoming present in us.
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Steve Kaplan offers some useful insights into the necessity of writing recognisable and relatable characters, and the importance of empathy and identification in the creation of stories that involve their audience. The thing that we often forget when we write our scripts is the importance of telling the truth about what it means to be a human and in a relationship.
~ 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? Simple questions you say, and yet the creation of fresh, surprising and compelling screen narratives 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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"Screenwriting or storytelling has to be about taking risks. The writer takes risks, the characters take risks. All of the important emotional interactions are centred upon risk. Risk is necessary because without it surprise is impossible. And if your story doesn't surprise you and your audience, it's not going to have the kind of impact necessary for bringing about the kinds of emotional transformations that will compel attention and make the experience of it meaningful. It is an enterprise that continually asks you to risk failure, which marks it as one of the more rare human activities in which you have a chance to discover something new about yourself."
THE MEANS IS FILM
THE MEDIUM IS
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