Explore the Library
Selected questions, answers, and comments preserved from the discussion forum on the original Soul of Your Story Academy website
What is the distinction between the “type of intent” and the “characteristic type of intent”?
I have a conceit I’ve used on all my full-length plays. I add a page of text at the end that is my commentary on my play. This allows me to to share my vision of a moment or moments.
When writing, I’ve wrestled with how to focus on some things (like a character) and not others. Recently, I read a writing book that said: The focus will be sharp, not because it is narrow, but because it is specific.
When and how much should one use parentheticals when writing dialogue in a play? I’ve always heard that it’s overreach to do so, but a mentor of mine has suggested I use more of them. Thoughts?
I feel the part of the Soul technique where I’m most vulnerable has to do with supporting characters. Thoughts?
Is a narrative theme always a deontological statement such as “One should or should not…”?
A viewing of the film Sweet Bird of Youth prompts the question: Can a theme serve as a character unto itself?
It strikes me that the grok approach could have a useful applications in theatrical text and character analysis, both for the director and the actor.