About

Before drama, before character and conflict and story, beneath them and behind them, we must acquaint ourselves with the deep structures of physics, nature, cognition and ethics that make any action possible, that make any thought cognizable and that give our morality its authentic weight.

Surprisingly, perhaps, it is in these deep conceptual structures – having to do with the logic of musical keys, color palettes, scalability, nested chronologies, and social biases and blindnesses – that the great stories will be seen to emerge, and it is only in understanding them that the student can hope to engender the kind of narratives that will propel a civilization forward.

Conceptual Screenwriting is not concerned with story or character per se – only insofar as they are profoundly emergent examples of the way the universe conducts itself at its foundations. Everything scales, and we shall see that our fresh insights produce in the end characters and stories that are more true, more exemplary, and more necessary.

JP Saladin, 2012

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s