Robert McKee’s NEW YORK Story Seminar
March 31 – April 3
Last Call! Don’t Miss it!
Robert McKee’s LONDON Story Seminar
April 8 – 11
Limited number of seats remaining!
Click here to register!
New York City, New York — Robert McKee announced a valuable addition for attendees to his renowned Story Seminar to be held at the Florence Gould Hall Theatre at the French Institute Alliance Francaise (FIAF) on 59th Street here in New York City this coming weekend (March 31 through April 3).
He is including a very unique “Networking Hour” on Saturday night from 7pm – 8pm, after the day’s Story Seminar segments have concluded.
Mr. McKee has long promoted the idea of networking for entertainment industry professionals including writers, producers, directors, novelists, and documentary makers. This networking hour will provide the opportunity for seminar attendees to mix, mingle, and make valuable connections that will help advance their careers. Likewise, producers, directors, and others can use this opportunity to find writers to work with them on future projects.
Story Seminar attendees have long been among Hollywood’s most successful and sought-after professionals. This Networking Hour in New York City will provide the opportunity to help those attendees connect with others who share their philosophies and informed talent.
The Networking Hour is open only to registered Spring 2011 New York Story Seminar attendees.
Storylogue Schedule for the week of March 28 – April 3, 2011:
Monday, Mar. 28 Q&A: Could you have dual protagonists in a love story? If so, from whose point of view can the story be told?
Tuesday, Mar. 29 Q&A: Could you have the same protagonist in your subplot as in your main story?
Wednesday, Mar. 30 Q&A: What is a film example of a sex farce?
Thursday, Mar. 31 Q&A: When rewriting a screenplay, how do you deal with directors who want to keep their favorite parts of the old outline?
Friday, Apr. 1 Q&A: Does the proof of love in a love story have to be an act witnessed by the lover, or just by the audience?
Saturday, Apr. 2 Lesson: The History of Mystery with Leslie S. Klinger, Part 1
Sunday, Apr. 3 Interview: Franklin Martin (Documentary Producer), Part 7 (Conclusion)
Q&A from Live Chat
with Robert McKee
Watch new video Q&A’s each day by joining
Q: What are the dangers in soliloquies and monologues of inadvertently spilling out (unconscious) subtext?
A: (Robert McKee) First of all, soliloquies and monologues are two different things. Soliloquies are spoken to the audience directly. Monologues are spoken to another character or to god or to the self. So, the quality of subtext changes.
When speaking to the audience, the subtext is what the character does not understand about him or herself. So for example: when Hamlet says, “Oh, What a rogue and peasant slave am I,” there needs to be a hint of some subtext that Hamlet does not understand the complaint he just made about himself is in fact a compliment to his sensitivity.
When people are talking in monologues to other people or to themselves, the subtext is often conscious thoughts that they are choosing not to express to the other person. As a tactic to get what they want. Now below that, there may be a subconscious subtext as well.
And so the only way that I know that a writer can prevent himself from inadvertently putting conscious or subconscious subtext into the text is to sit down and carefully write down the subtext. Make yourself as conscious as you can be about what is unconscious in your character. Then, after you’ve written the text, put it aside for a few days and read it again.
And see if on the nose thoughts leaps through here or there. It is very useful to read your monologue or soliloquy into a tape recorder and listen to it. And try to hear again leakage from the unconscious. But there is no hard and fast answer to this. That you are aware that what it means to write on the nose is a big step toward the solving the problem.