Billy Marshall Stoneking Quotes

POUND
We spend twelve hundred generations developing
so-called civilization to the point where it
produces an expert who can offer us salvation
from our superstitions, and all we end up with
is another superstition! If it takes someone
like Freud to save us from our neuroses, what's
it gonna take to save us from Freud?

From the writer's perspective, audience is always an act of the imagination.

Nothing that happens is meant to happen or not meant to happen. The 'meant' is the story we tell ourselves that allows us to make sense of what is fundamentally senseless. Does this make our lives less important? Only if that's the story you want to tell yourself. Where do the stories end? They don't. It's stories all the way down. And all the way up.

A mistake is the name we give to any action in which we perceive a difference between what we intended and what has occurred. Intention fuels every dramatic action, including the writing of dramatic stories, which involves a series of dramatic actions. In the course of writing, or finding, the story that wants to get itself told, it behooves the writer to liberate the characters by finding the faith and courage necessary for setting aside one's own conscious needs and expectations. Not to do so promotes 'mistakes' - i.e: confusion born of some incoherence in the emotional logic of the story). As the writer abandons his/her intentions - no matter how noble they may seem - only then does that most strange and ineffable quality we so casually refer to as 'the magic' have a chance of entering the story, and rendering even the 'mistakes' stimulating, daring and provocative.

The burning off and the gathering together are one.

We speak for those who cannot speak. We have a duty to tell the stories for those who do not have the advantages that we have to tell stories. We must not speak falsely. The stories that we are entrusted to tell are stories of our tribes, or the tribes into which we have been initiated.

No one ever developed their character by arranging their experiences in such a way that only 'good' things are allowed to happen to them. Character is not purchased with a dance in the street. It is not cheap, and it's hard to come by, owing partly to the fact that it is the heir of disappointment, frustration, betrayal and deceit. However, it is not the inheritance that matters so much as what you do with it. In the face of seemingly insurmountable problems what do you do, and why do you do it? The same holds for dramatic characters whose strength, courage, insight and wisdom have to be earned.

THE THINGS POETS & WRITERS DO THAT I LOVE
Listen to the Ancestors
Acknowledge their influences
Trust their gut-feelings and act on them
Maintain openness.
Play
Dance with languages
Be bold
Refuse servility
Avoid arrogance
Embrace the unknown
Love the journey
Respect one's fellow journeyers

The question is not how can I overcome fear? The question is: how can I use it creatively? If you have problems (and we all do), how are you going to deal with them? To be is to be imperfect. Contentment is resiliency, the willingness and the ability to see the opportunities presented by mistakes. Take what you like and pay for it - failure is the price you pay for success. It is the wages of growth. Success is failing forwards, figuring out how to conduct suffering, and in its reconstruction to transform it into illumination. Eschew impatience. Let stillness teach you where your centre is, where your origins are. Be impeccable in all your dealings with the world. Integrity isn't a luxury - it's an essential. Remember the best advice of the I Ching: perseverance furthers.

The story writes you as much as you write it. And the process of re-writing isn't so much a quest to re-write the story as it is to re-write the writer.

As a screenwriter - if you are completely honest with yourself - you can't help but admit that your greatest threat is the audience, where audience is not understood as a demographic category but as a character outside the script to whom the story is addressed. A good part of the drama necessary for uncovering the story resides in the conflict between the storyteller and his/her audience. Audience plays the part of antagonist to the writer's role as protagonist. The writer drives the action, which is forever complicated, frustrated and undermined by the audience's needs and sensibilities. Audience wants you to prove it. Audience has a chip on its shoulder, and doesn't give a damn. Audience has been there and done that in the guise of your mother, your father, your ex-, your worst enemy. Audience laughs at your stupidity and dares you to change its view of you and the story world that you would have it care about. Audience is defiant. It has your number. The only way you can defeat it is by carrying a bigger stick - your only defence is an inspired offence, namely the story.

Being an American in Australia isn't easy,
but I'm trying to integrate, I'm trying to fit in.

Poetry is the struggle against the simplification, codification, and mummification of language, it serves as a constant redirect - moving us to the experience to which the words point.

What monster sleeps in the deep of your story? You need a monster. Without a monster there is no story.

Your audience is your adversary. If you don't have one get one - imagine it. Imagine it now. To whom is your story addressed and why? Audience is always a creative act of the imagination. You can't tell your story effectively and leave it out. It must be alive in you, vividly alive. It is in conflict with everything that is false in what you have written. If it is an audience worthy of your talent and potential, it won't let you slide by the lies, the laziness, the shortcuts. If you don't take audience seriously, you can be sure it will return the favor.

There's a chasm between writing about yourself and writing about your personal life. A lot of young writers want to turn their lives into stories, into films, books, because they feel their lives are somehow significant. But really, it's not their personal lives that matter, but their own, hard-fought-for ideas. Not just anybody's ideas, but the ideas that they have paid for with their suffering and their sacrifices and their love of their fellow humans.

No matter how cleverly we disguise our anxieties they bear witness to the imperfect nature of the human heart. To be is to become. To become is not to be. We are a work-in-progress, incomplete, imperfect, unrealised, and by virtue of temporal actions, temporary - a verb more than a noun, an inner quest and an outward odyssey framed by metaphors, like Escher's "Print Gallery"; we make the endless journey round the pictures, retracing our steps in forgetfulness, avoiding but mindful of the space where there are no pictures, where there is no gallery, where there is nothing at all. And like flies in a fly bottle, trapped by a failure of vision, we go round and round and round the moebius loop of a print gallery of our own making, a picture inside a picture inside a picture, forever.

The answer to the question, 'where's the drama?' is another question: 'what's the problem?

Character isn't something that magically appears simply by virtue of having a birthday and a describable physical identity; it is something that is built by action and error, out of anxiety and a longing that compels great efforts in the face of eternal hopelessness. A character in a story fights to get what s/he wants, just as the dramatic writer must fight to penetrate his or her own stubborn habits, prejudices and expectations, to get to the heart of the story. Drama builds character - that's why it exists, both inside and outside the screenplay.