Will Dunne Dramatic Workshops
Will Dunne Dramatic Workshops
 
Will Dunne Dramatic Workshops
 
 
Will Dunne Dramatic Workshops
Will Dunne Dramatic Workshops Guide Description
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Will Dunne Dramatic Workshops An In-Depth Analysis
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Will Dunne Dramatic Workshops The Exercise Menu
 
Will Dunne Dramatic Workshops
 
Will Dunne Dramatic Workshops
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THE DRAMATIC WRITER’S COMPANION
THE EXERCISE MENU
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The self-contained exercises in the guide can be used in any order and repeated at different times to produce different results. To facilitate guide use, exercises are organized into character, scene, and story sections. Each section is further divided into stages 1, 2, and 3 to suggest when an exercise might be best to try, with a stage 1 best suited to early script development and a stage 3, to later development. However, this numbering system is optional. It’s for guide users who prefer some structure in choosing exercises. Following are summaries of the guide exercises:
 
DEVELOPING YOUR CHARACTER
Stage 1: Fleshing Out The Bones
will dunne Basic Character Builder
Begin to create a new character by fleshing out key physical, psychological, and social traits and by identifying some of the important experiences that have shaped the character by the time the story begins.
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will dunne What the Character Believes
The character’s personal beliefs have a huge impact on how he or she sees the world, makes decisions, and behaves. Twenty topics lead you through an exploration of this credo and – like the next two parallel exercises – ask you to respond through your character’s unique perceptions and voice.
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will dunne Where the Character Lives
Whether or not story action actually takes place in the character’s home, it is a personal domain that can reveal much about who your character is and isn’t. Twenty questions lead you through this exploration.
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will dunne Where the Character Works
The activities, culture, and experience of work provide another key source of character information – even if this work doesn’t figure prominently in the story action. Twenty questions lead you through this exploration.
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will dunne Getting Emotional
Dramatic characters tend to be driven by strong feelings. Learn more about your character by exploring his or her primal emotions – anger, fear, and love – and the stimuli that trigger them.
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will dunne Into the Past
One key to a great story is a great back story. What has your character experienced in the past that will shed new light on his or her behavior now? Starting at the precise moment the story begins, this exercise leads you backward through time, step by step, to discover important truths.
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will dunne Defining Trait
What are the bold strokes of your character – positive or negative – and how do these dominant traits inform and affect story events? This exercise helps you explore the causes and effects of the character traits that matter most.
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Stage 2: Getting To Know the Character Better
will dunne Allies – Then and Now
Drama is about human relationships and how they function under pressure. This exercise defines different types of allies, such as “the dangerous ally,” and asks you to find examples of each in your character’s life.
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will dunne Adversaries – Then and Now
This exercise picks up where the previous one left off, defines different types of adversaries, such as “the friendly foe,” and asks you to find examples of each in your character’s life.
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will dunne Characters in Contrast
Compare two of your principle characters in categories ranging from key strengths, such as “Extra Special Talent,” to key weaknesses, such as “Extra Special Lack of Talent.” You may find similarities and differences that help you better understand each character and their relationship.
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will dunne Finding the Character’s Voice
A fully developed character has a unique way of expressing thoughts and feelings. Explore some of the long-term and short-term factors that can affect this voice. Then compare the voices of any two of your characters.
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will dunne Three Characters In One
See what truths, lies, and delusions you can uncover by exploring a character from three different perspectives: that of the character, that of someone who knows the character well, and that of an objective outside observer.
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will dunne The Secret Lives of Characters
The secrets that characters keep suggest a lot about what they value and what they fear. Explore different types of character secrets and how they might affect the direction of your story.
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Stage 3: Understanding Who the Character Really Is
will dunne The Noble Character
Great characters tend to be noble in nature, even if they are also flawed and behave badly. This raise-the-bar exercise challenges you to explore the nobility of a character and build on this to create a more important story.
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will dunne Seven Deadly Sins
Whether or not your characters are religious, the concept of “sin” offers opportunities to explore their individual strengths and weaknesses. Use the traditional seven deadly sins to develop capsule character portraits.
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will dunne The Dramatic Triangle
In a relationship between two characters, there is often a third party affecting what happens between them – even if the third party is not physically present. Learn more about a key relationship by analyzing it as a dramatic triangle.
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will dunne Spinal Tap
The spine of the character is the root action from which all of the character’s other actions flow. This “big picture” exercise helps you explore a character’s spine and use it to trigger new story ideas.
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will dunne Character as Paradox
Fascinating characters tend to manifest contradictory traits and behaviors. By exploring your character as a paradox – a self-contradiction which is true – you can add to his or her complexity and generate new ideas for story action.
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will dunne The Character You Like Least
To develop any character, you need to understand how he or she experiences the world. Try this character exploration if you find yourself with a two-dimensional “bad guy” whom you are having trouble writing.
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will dunne In So Many Words
This exercise helps you establish a “big picture” view at your character and then gradually focus in on his or her most important characteristics.
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CAUSING A SCENE
Stage 1: Making Things Happen
will dunne Basic Scene Starter
This simple writing warm up offers twelve basic questions that can help you prepare to write any dramatic scene.
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will dunne Where in the World Are We?
The setting for a scene can be a rich source of story ideas if you take the time to discover what’s there. This physical life exercise guides you through a visceral exploration of the place where a scene will occur.
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will dunne The Roots of Action
Explore the immediate given circumstances for a scene and use this scenic context to fuel the emotions, thoughts, needs, and behavior of your characters at this particular time in your story.
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will dunne What Does the Character Want?
Dramatic characters act for one reason: they want something. Explore five types of objectives and figure out what specifically your character wants in any scene of your story.
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will dunne What’s the Problem?
Conflict in drama is obstacle. Explore different types of obstacles that your character might have to face while pursuing a scenic objective.
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will dunne Good Intentions
Right or wrong, characters act in pursuit of what they perceive to be good at the time. Find the good intentions behind even the worst behavior so that you can better understand the characters you write.
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will dunne How It Happens
Characters try different strategies – some planned, some spontaneous – to achieve their objectives. This exercise helps you figure out the beginning steps of character action in a scene.
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will dunne Character Adjustments
Your character has a certain observable attitude or emotion that can affect how a scene begins or unfolds. Use this exercise to explore different possible adjustments for your character during the course of a scene.
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will dunne Scene in a Sentence
No matter how many different actions and topics it involves, and regardless of its complexity, a scene is about one thing. This exercise helps you explore the main event of a scene from different angles that may lead to new story ideas.
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Stage 2: Refining The Action
will dunne Seeing the Scene
A picture is worth a thousand words. Streamline the need for dialogue by exploring new ways to literally show, not tell, your story and create a simple visual storyboard of the scenic action.
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will dunne There and Then
In drama, the term "exposition" refers to anything that is not observable in the here and now. Use this exercise to turn expositional facts into story action that fuels your story instead of stopping it.
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will dunne The Aha!'s of the Story
Characters continually acquire new knowledge about themselves, others, and the world at large. Explore three types of character discovery and how these "aha!" moments might influence the dramatic action of a scene.
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will dunne Heating Things Up
One way to heighten conflict is to make confrontation between your characters unavoidable. Explore different conflict techniques, from a binding disagreement to such devices as the locked cage, ticking clock, and vise.
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will dunne The Emotional Storyboard
Character emotion is an integral part of story structure. Map out the emotional arc of each character in a scene, and explore how this emotional life both creates and grows out of the dramatic action.
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will dunne In the Realm of the Senses
Sense experience and sense memory are key ingredients of our participation in your story. Add visceral power to a scene – and trigger new ideas – by doing an in-depth sense study of its setting, characters, and dramatic action.
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will dunne The Voice of the Setting
Whether indoors or out, every setting has its own voice. Explore different ways to use the nonverbal sounds of this voice to help set the scene, create a mood, or tell the story.
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will dunne Thinking in Beats
The beat is the smallest unit of dramatic action. By doing a beat analysis of a scene you want to revise or edit, you can not only pinpoint dramaturgical problems but also evaluate your current writing process.
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Stage 3: Refining The Dialogue
will dunne Talking and Listening
Dialogue is heightened speech that sounds like everyday conversation but isn't. Here are some general guidelines to help you revise your dialogue so that it accomplishes more with less.
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will dunne Unspeakable Truths
What your characters don't say is just as important – and often more important – than what they do say. Explore the subtext of your characters and how to communicate it without actually stating it.
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will dunne Universal Truths and Lies
A great story imparts not only the specifics of a plot, but also statements – true or false – about the world we all live in. Elevate your dialogue by exploring character beliefs about the human condition, and mixing these universal truths and lies into plot details.
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will dunne The Bones of the Lines
While there are no rules for writing dialogue, certain basic principles tend to govern the power of dramatic speech. Use these principles as editing guidelines to refine your dialogue from a purely technical angle.
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BUILDING YOUR STORY
Stage 1: Triggering The Chain Of Events
will dunne Whose Story Is it?
A dramatic story may center on one, two, or more characters. Use this exercise to find the right character focus for your story if you are having trouble figuring out whose story you are writing.
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will dunne How Will the Tale Be Told?
From what vantage point will we experience the world of your characters? Develop a point-of-view "contract" to define how you will limit – or not limit – our knowledge of story events.
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will dunne As the World Turns
What is the world of your story? Trigger new story ideas by fleshing out the physical, cultural, and political dimensions of this realm as well as the values, beliefs, and laws that govern it.
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will dunne Inciting Event
Every story is a quest triggered by a turning point experience that upsets the balance of a character's life in either a good way or a bad way. Explore your story's inciting event and how it affects your character.
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will dunne The Art of Grabbing
Great stories grab us by the throat and don't let go. Increase your story's grabbing power by looking carefully at what you have accomplished – or not accomplished – during the first ten pages.
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Stage 2: Developing The Throughline
will dunne Step by Step
Drama is about life in transition. This exercise helps you plan the big transition of your character's dramatic journey, and begin using a step outline to track and analyze key events.
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will dunne Turning Points
Your character's dramatic journey is a sequence of events that can sometimes turn in unexpected directions. Learn more about your story by fleshing out two basic types of turning points.
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will dunne What Happens Next?
Suspense is a core ingredient of any dramatic story. Use basic principles of suspense to strengthen your story line and keep your audience engaged.
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will dunne Pointing and Planting
Foreshadowing can help you strengthen your throughline by finding the relationships between story events. Use this exercise to explore how setups and payoffs can heighten suspense.
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will dunne Crisis Decision
The crisis is when your subject, theme, character, and story all converge to create the most difficult decision your character must face. Construct this crisis decision by examining the gains and losses that hang in the balance.
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will dunne Picture the Arc of Action
This exercise can help you visualize the throughline of your story, find telling images of your character at the most important points of the dramatic journey, and understand how these points connect.
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will dunne Before and After
Define your character's dramatic journey by comparing its starting point to its final destination, and determining how the character has been affected by what happened.
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will dunne Twelve Word Solution
Work within given limits to explore your story globally and define the key events of your character's dramatic journey.
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Stage 3: Seeing The Big Picture
will dunne Main Event
No matter how complex its characters, plot, and subplots may be, a great story usually adds up to one main event. This focusing exercise helps you understand what happens – or what could happen – in your story overall.
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will dunne My Story as a Dog
By translating your story it into totally different forms, such as a newspaper headline or poem, you can simplify and prioritize your story ideas, get a clearer view of the "big picture," and have fun in the process
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will dunne The Incredible Shrinking Story
Developing a synopsis is a great focusing process that can help clarify what you are really writing about. This exercise helps you get the most out of this process by writing not just one but seven different levels of summary.
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will dunne What's the Big Idea?
As you review your script, you will probably find a number of themes woven throughout. Use this focusing exercise to figure out which of these ideas is most important, and develop a theme statement that can help guide the rest of story development.
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will dunne What's in a Name?
This exercise might help you find a great title for your story, but its primary purpose is to use the naming process to explore the "big picture" of your story and figure out what matters most.
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will dunne The Forest of Your Story
The forest is what we discover when we can finally see more than just the trees. What is the forest of your story? This summary exercise leads you through a detailed 'big picture" analysis of your material.
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will dunne Ready, Aim, Focus
This focusing exercise asks you to think a lot but write only a little as you give one word answers to big questions about your story, such as "What does your main character most want?"
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will dunne Six Stages of Revision
The revision process is often when a script gets "written." This exercise offers a series of suggestions and reminders to help you review a completed draft of your script.


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  Will Dunne Dramatic Workshops