Konstantin Stanivlavski is my secret Robert McKee. I have been reading bits and pieces by and about him, mostly for a character in my YA work-in-progress, and the more I read, the more I think about how it applies to my own writing. I feel the need to know everything about all my characters even the secondary and tertiary (tertiary?) ones. Otherwise none of it feels real and then I don't feel like writing it. I think the answer might be to hold my breath and push past the moments where the story feels forced, at least in the early drafts, otherwise there's a danger of going so deep I won't be able to get back out.
I don't know when writing became so much about verisimilitude for me.
Other Stanislavski things I like:
- relaxing before you start the work
- using objects to connect inner and outer states
- breaking plays* up into segments that pertain to a distinct theme - these themes then connect and build up to the 'super objective' of the play
- if you make a mistake go with it - it will draw you closer to your subconscious
Writing Exercise: Write about something impossible and unbelievable. (Was that fun?)
* or novels!