That is all the secret of the well-made consultants. You need to know get in other skins other than their own. But do not go to believe that everything is music of violins and honey. On my advice, not only am I which must be placed on the skin of another. I require, unceremoniously, I demand that you do the same thing; of course, not with me: first with your characters, and then, with your audience. You’re aware of it or not, through your work, moment to moment, communicate to each person that forms your audience.
Therefore, you should know what emotions you wake up every moment. Same as script Adviser formed a special Menage a trois with writer and its history, conceptually the writer should do the same with its history and the public. Because if left to the public excluded, history becomes an onanista without dimension object: born and dies to gratify the senses of its author and point. And while everyone is entitled to practice the onanista art if you like, it is not in vehemently demanding others to finance the masturbatory practice. Capricho narcissistic is this called.
Or tantrum megalomaniacal. Think of the public, specifically to account for their emotions, not only makes us best lovers in the game of the script; In addition, it opens up a new dimension, literally, without rhetoric. If we want to excite, is not more nor less than communicate something beyond the coldness of the reason, we must learn to feel the emotions, both our characters and our audience. Not in esoteric way, nor ambiguous must acknowledge them, give them their proper volume, anticipate their effects throughout a Masters within the estetico-emocional field. But if you’re seriously and propose something more than necessary write a few lines accelerated or ofuscadas by your own obsession to write well or deliver a material.