Billy Marshall-Stoneking Quotes

POUNDttWe spend twelve hundred generations developing t 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 ttit gonna take to save us from Freud?
Billy Marshall-Stoneking
The answer to the question, 'where's the drama?' is another question: 'what's the problem?
Billy Marshall-Stoneking
As a writer, you can’t get to where you want to be, coming from the place you started, unless you have something extremely important you want to say to someone who really doesn’t want to know.
Billy Marshall-Stoneking
The burning off and the gathering together are one.
Billy Marshall-Stoneking
Fear is elemental to every human endeavour involving risk and change, which includes ALL creative endeavours. To be creative is to be anxious. To endure the anxiousness - to face it and work with it, to allow it to lay bare what has been hidden - is the beginning of faith, which, in a certain sense, is the courage to become, to become present, along with all the other characters, tribes and audiences whose actions move the unfolding drama that is the world.
Billy Marshall-Stoneking
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.
Billy Marshall-Stoneking
Some writers might tell you that writing is like a piece of magic - a process of creating something out of nothing, and I guess I used to think about it that way too a long long time ago. But as I've lived my life and loved and lost friends and family, and seen dreams smashed and resurrected, and marveled at the pettiness, drear ambition and ignorance of the herd of which I am a part, I can no longer say that a poem or a story or a script comes from nothing. If it's any good, if it has any power, any potent emotional body, then it's something that a writer has paid for, not only in time, but in all the anxiety that accompanies living and those small fret-filled acts of becoming present that make it possible for us to see beyond our little patch of immediacy. It's not just a reaching out, but a reaching in, into the depths of our being from whence we've sprung.
Billy Marshall-Stoneking
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.
Billy Marshall-Stoneking
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.
Billy Marshall-Stoneking
Too many film schools, as well as any number of screenwriting gurus and an obscene number of how-to-write tomes, have made a business of catering to fledgling screenwriters and filmmakers by exploiting their belief that the only thing standing between them and an Oscar is the right kind of knowledge. If only one knew enough, one could easily become rich and famous. Unfortunately, almost all are susceptible to that eternal malady – “that last great infirmity of the soul” – which is FAME. And whilst I don’t deny the value of technical knowledge, such knowledge matters very little if the story one is trying to tell doesn’t matter, either because it’s incoherent or simply because it fails to make us care.
Billy Marshall-Stoneking
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.
Billy Marshall-Stoneking
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.
Billy Marshall-Stoneking
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.
Billy Marshall-Stoneking
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.
Billy Marshall-Stoneking
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.
Billy Marshall-Stoneking
Character is not purchased with a dance in the street. It's expensive and hard to come by. Though it is the heir of disappointment, betrayal and frustration, it is not the inheritance that matters but what you do with it. No one ever developed their character by arranging their experiences in such a way that only ‘good’ things are allowed to happen.
Billy Marshall-Stoneking
THE THINGS POETS & WRITERS DO THAT I LOVEListen to the AncestorsAcknowledge their influences Trust their gut-feelings and act on themMaintain openness. Play Dance with languagesBe bold Refuse servilityAvoid arroganceEmbrace the unknownLove the journey Respect one’s fellow journeyers
Billy Marshall-Stoneking
My dear woman, our greatest problem is that almost everything is a goddamned code. We do not know what is real any more. Every gesture is symbolic. A man cannot shit short of some pundit finding hidden meaning in it. Even having children is a metaphor. Hence, we cannot trust ourselves; and, therefore, we do not trust anybody. No my dear, I do not believe in codes, and even if I did I certainly would not use one in my sleep! (from the play, Sixteen Words For Water)
Billy Marshall-Stoneking
Originality has nothing to do with producing something ’ new’ - it is about seeking the source, the primordial ground from which you draw and have always drawn your being. It comes about when one works from one’s origins, it is the dance of the eternal return… and is as ancient as the Dreamtime.
Billy Marshall-Stoneking
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.
Billy Marshall-Stoneking
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.
Billy Marshall-Stoneking
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.
Billy Marshall-Stoneking