Billy Marshall Stoneking Quotes & Sayings

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

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. — Billy Marshall Stoneking

From the writer's perspective, audience is always an act of the imagination. — Billy Marshall Stoneking

If you would know this country, you must know its stories. — 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 burning off and the gathering together are one. — 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

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? — 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

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

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

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

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 — 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

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

The ending of a story tells us what it means. — 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 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

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

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

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

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

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

There are far too many screenwriters who have made themselves honorary "secret" members of the Audience Protection Society (APS). Of course, they're easy to spot, which makes their membership in this group anything but secret. They write as if they are duty bound to protect their readers from the nastiness of ruthless drama. The way they see it, if they're going to go to the trouble of creating loveable and attractive characters why throw them to blood-thirsty apes, or have them face a fate worse than death? They tell themselves that such actions would offend their audience's sensibilities, but really it's their own fears and prejudices they can't cope with, not to mention those nagging insecurities concerning their ability to write credible characters in the grip of extreme emotion. They'd rather be dead than write cheese. — Billy Marshall Stoneking

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

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