Screenwriters desiring viable and dramatically creative relationships with “their characters” are sensitive to the distinction between knocking and entering. Knocking consists of research and all those initiations relevant to gaining admittance, including writing and re-writing, readings, meetings, question asking, travel, exercise and other physical experiences. Don’t mistake the nature or purpose of your visit. A writer who only knocks may believe s/he has visited the premises without ever having met who lives lives there. Even if the door is opened and the writer indulges in a bit of a chat, s/he still has not crossed the threshold. Entrance requires much bolder action than knocking, even though the efforts we put into knocking conjure some semblance of connection with the place and its occupants. To actually enter, you must enter into yourself, to uncover hidden motives, to see contradictions, to become fully present and, in so doing, realize your actual powers for self-change. A story is not merely an act of expression - it is an act of self-transformation.
What you can do is: know when you are interfering with the story, and then step back, get out of its way. It’s trying to tell you something that you believe or think or feel is far too painful or troubling or dangerous. But this has more to do with your fears than what the story is actually wanting to show you. it won’t won’t destroy you. Promise. When you let it become what it is you will have a new and surprising experience not only of what it is, but what you are, and it will become like an earth-mover, a bulldozer, pushing all the trash on the lot out of the way, leaving room for the story to become what it will.
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