How does this apply to my writing you may ask?
If we think about it, don’t we tend to have an internal movie going on in our head when we’re writing? As director, screenwriter and character all wrapped up into one, what choices are we making in the showing of our perfect scene and why? What points of view are we, as directors, choosing; what tones are we selecting for the scene and pacing? What would be the alternatives? How much of that perfect envisioned scene in our imagination is making it to the page? Are we hitting the right notes with our character’s body language or lack there of? Are we delving deep enough into our character’s physical and emotional behaviors? What things are our characters seeing and reacting to that we may be missing when we’re writing our tension filled moments in our novels?
In this 2-hour session, Ron will lead his audience in an interactive participation to discuss these choices using featured clips to examine the choices of the movie directors and actors and why they might be making them.
"Ron's seminar "Breaking Down the Dramatic Scene" was for me one of those rare experiences that completely changes the way you think about something. The prevailing wisdom around engaging a reader by immersing her or him in a well crafted scene made the seminar particularly pertinent. I will never think about creating a "scene" for a reader in the same way. It was like opening a window to a whole new world of story creation. I particularly appreciated Ron's supportive guidance in helping us see all of the nuances in creating powerful "scenes."
I highly recommend this seminar.
In ‘Breaking Down the Dramatic Scene,’ Ron Bagliere takes us through brief clips of movies and shows us the incredible amount of detail that lands in our imagination in just a glimpse. He points out everything in the atmosphere of the scene: Weather, dull or bright, the character’s gait which is slow and uncertain, her hands in front of her, clutching her fingers protectively in front of herself. We see her touch a sign, pause and collect herself. We see what the character notices, that which attracts her attention also attracts ours and shows us what is important to her. Ron explains how we can add this to enrich our writing using direct thought and indirect thought. He points out the pacing and where to use fast or slow pacing. He also points out how segues show a major change of attitude, catalytic moments that spur a change in the character.
Ron has a deep well of writing knowledge and shares it generously and clearly. He has been invaluable to me as I continue to grow on this most exciting writing journey. I highly recommend this course to any writer who wants to enrich and deepen their writing.