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Tag: Guilt

Selecting the Character's Emotion

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The last article covered the process used in selecting and portraying the character's objective. Many of the same principles also apply to the selection of the emotions. As with the objective, the ability to choose and convey strong emotions is a valuable tool for the actor. Many performances work mainly because of the powerful emotional portrayals.

In a dramatic sense, what are emotions and how do they affect the audience? Emotions, together with intentions and obstacles, are the forces that move the characters through the story. They are feelings so powerful that they can change the character's life or destroy it. And by destroy, I mean decimate one's inner powers, beliefs, even one's life. For the actor, such feelings must be larger than life. They must also be readable to stir and lead the audience in the desired story direction.

Emotions affect the audience in many ways. Most important is the empathy they create causing the audience to care about certain characters and follow their struggles. They likewise, create a for or against polarity for each main character as the audience observes, evaluates, judges, and even takes sides. As part of the behavior, emotions create deeper awareness of the character, often justifying their actions. In addition, emotions can change the audience perspective and the way they feel or think about a given issue. They are instrumental in leading the audience in the desired story direction

Like the intention, the emotion can intensify the conflict within or between characters. It can likewise, establish sympathetic or antagonistic roles, ones that make the audience root for the hero and boo the villain.

In choosing the emotion, the guidelines are similar to those used in selecting the objective. First read and study the entire play. Look for clues in the dialogue, the action, the stage directions, and in the resolution of the story. Select choices that result in the story line making sense.

Like the intent of the character, the emotion is derived from the character's viewpoint, what the character knows and feels up to that point in the story.

No one lives in a realistic world. We occupy a space of our own creation – bits and pieces of actuality mixed together with our internal perceptions, our hopes, our fears, our memories, and our anticipations. This "reality" we live in – half fact, half fantasy – is as much the product of our emotions as our rationality. Thus, in any given situation, what might be an acceptable intention and emotion for one character might be a contradiction for another character. Knowing the character's goals, flaws, and inclinations in context of the total story will aid in determining these choices.

Next, we need to answer the question, does the character's emotion assist the intention or does the emotion create an obstacle? Placing the objective, what the character wants, in conflict with what he or she feels will likely shift the focus of the scene to the character with the greater internal struggle.

Let's use the example where a man is at a dance and sees the women of his dreams sitting alone. His intention might be: To get to know her. But his emotion, fear of being rejected, would be in conflict with his intention. Thus the focus of the scene would be primarily on his internal struggle and the purpose of the scene might be to show the man overcoming his fear.

But let's say her intention, to marry rich, is assisted by the emotion, ambition. And the scene resolves when the women walks away when she discovers the man is dirt poor. If his initial emotion of fear were replaced by desire and his intention remained to get to know her then the focus of the scene would center more on the relationship and the impending discovery. The purpose of the scene could be to introduce his major obstacle in the story, the women, along with his over all goal: To win her love.

The initial choices for each character might look like this:

MAN

Objective: To get to know her

Emotion: Fear / Desire

WOMAN

Objective: To marry rich

Emotion: Ambition

The above choices set up confrontations, the inner doubts of the man, and then, his desire for her is countered by the revelation that he's not rich enough for her. After the woman learns this, her emotion changes to contempt for the man and she walks away. The characters' choices would now change to:

MAN

Objective: To win her love

Emotion: Determination

WOMAN

Objective: To marry rich

Emotion: Contempt (for the man)

These choices place the focus of the scene on the major conflict that is resolved later in the story when he wins her love. It, likewise, centers on what's important, the relationship.

As with the intention of the characters, the emotion need not follow the logic of the dialogue and action. Modern plays and movies do not always express the thoughts and emotions of the characters clearly, nakedly, up front. Today, we have to play the duality of people; playing what they appear to want against what they really want. And sometimes the two may have no connection what so ever.

In modern plays, every character has two behaviors. What is really going on and what they are willing to show to the world? So many emotions, to be played properly, need to be partially masked or repressed.

Using the man and woman from our earlier example, let's set up a scene later in the story, one that demonstrates the duality of the characters and uses of partially masked or repressed emotions. At a shopping mall, they meet by chance and their dialogue is mainly small talk. The scene ends with each alluding to errands undone. The only hint about what is really going on is found in the following script action lines:

He rarely looks directly at her.

They shake hands, each holding on longer than necessary, and then each goes their way.

In view of the story's final outcome, this is likely a scene where her objective, to marry rich, is weakening, and that she has some attraction for the man. Based on how their first meeting resolved, their selections might be as follows:

MAN

Objective: To not upset her / To win her love

Emotion: Desire / Determination

WOMAN

Objective: To show him I don't care / To make him want me

Emotion: Determination / Curiosity

This would be a scene where the characters are not open with each other, yet the audience (or camera) is aware of the inner conflicts and what's really happening. The behavior could best be reflected through masked and / or repressed emotions.

If the man were to play his emotion of desire openly, he would surely upset her. So he has to repress it or use a mask technique and unleash his desire when she is not looking at him. The woman is determined to show the man she doesn't care about him, but now he appears to have no desire for her. From her point of view, something has come to change the relationship and as a result, she alters both her objective and emotion.

His apparent disinterest makes her curious and her objective in now: To make him want me, like all men do. Her actions might be to get his attention, to entice him. But the problem is, he's not looking at her. How can she obtain what she wants? She uses the lingering handshake.

You can see where these choices create conflict both within and between the characters. They also create subtle shifts in behavior that move the story forward. Interest in the relationship is likewise increased because the audience is aware of something the characters are not. And as the scene ends, the audience has a pressing question: "What will happen the next time they meet?"

The foregoing example demonstrates one answer to the character's choices. These are, by no means, the best or only selections. In fact, the type of actor you are is also a consideration. If you were Jack Nicholson, your emotions might be different than if Arnold Schwarzenegger were he playing the same role. Each actor brings to the scene his or her own perspective and emotional latitudes. Furthermore, a scene played as a comedy versus one being played as a drama might result in different sets of emotions for the characters.

Here are some other factors that should be considered: Who are you in the story? What is the situation, and what is the relationship? For instance, if you were playing a love scene as a character that had little experience with the opposite sex, your emotion might be fear (fear of the unknown) rather than the expected desire or lust.

Now change the situation to your having a good dinner with your loving spouse. Your emotion would change to maybe contentment or joy. Now change the relationship to your having dinner with an important client. Your emotion might range from apprehension to ambition to greed. Who you are, the relationships, and the situation, all have a bearing on the emotion selected.

How many emotions can you use in a scene and how long do you play an emotion? As a general rule, work with only one dominant emotion in a scene – until something occurs to change it. These occurrences could be a change in the relationship, the situation, who you are, new information, overcoming obstacles, new obstacles, and succeeding or failing at one's intention. Any one of these events could have enough impact to motivate a change.

Most scenes have one dominant emotion running through them and while the actor may use subtle shadings of other emotions, that one feeling prevails – until something occurs to change it. If the actor were to change the emotion at each minor occurrence, the audience would question the character's integrity and loyalty to the cause for which he is fighting.

Too many changes cause the character to lose part of his identity. We become uncertain about who he is, what he's attempted in the past, or what he's after now. Credible characters are made up of consistent behavioral patterns. By that I mean, what has happened before will likely happen again should the same situation occur. There will, of course, be a few surprises, but for the most part, certain emotions will dominate each character's behavior as he or she progresses through the story.

So when you research and study the entire play, you will likely find certain emotions and emotional patterns repeated to reinforce the identity and commitment of the character. For instance, the repeated pattern of mischief – embarrassment – fear might be the dominant emotions for a small overly rambunctious boy. A young executive struggling with business ethics might have an emotion pattern of ambition – determination – greed – guilt. A woman in jeopardy might follow a curiosity-suspicion – fear – terror progression.

As you can see, certain emotions and their progressions make up a portion of the character. Also look for surprises where the emotion swings 180 degrees, ie, contentment to fear, desire to contempt, revenge to compassion.

When working on a play or scene, write down in the margin of the script your choices in objectives and emotions, where the changes occur, and the motivation for making the change. Beginning actors tend to be non-committal while experienced actors, however, take dramatic risks and commit themselves to their choices. By writing them down, you've made a major step to that commitment.

To aid in selecting the emotion, I've compiled discussions of root emotions , the primary forces in most scenes. These discussions explore the physical sensations, sources, forms, and dynamics of the most common root emotions. They will serve as a guide in stretching the clarity, strength, and polarity of your emotional repertoire.

This article has covered the basic skills used in the selection of dramatic emotions. Use these skills as tools to nurture and release the character's true feelings, to foster the isolation and control of emotional behaviors, and to achieve the desired strength (story importance), clarity (audience knowing / feeling it) and polarity (protagonist-antagonist orientations ).

Implementation of your selections is addressed in another article. This article will cover the various methods used to generate credible emotions.

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Source by Erik Sean McGiven

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November 12, 2022
Words Can Help Heal – Sending a Pet Loss Card

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Anyone that has ever owned a pet knows that no matter how small an animal is, they each have their very own personality. Pets appreciate you. They look forward to seeing you daily. They make you feel wanted and needed. They can get you out of a funk. It is no wonder that we get attached to our pets.

Losing a pet is one of the hardest things that a pet owner will ever have to face. When someone loses a husband, a parent, or a child, we automatically think to send a card. We sometimes underestimate the importance of sending a pet loss card to a loved one. It is equally important to show you care by sending a heartfelt message. Simple words can mean so much to someone. It is comforting to a person who has lost a pet to know that their loved ones recognize their loss and respect their feelings of grief. The support of close friends and family during any loss can make the process a little easier to go through.

There are many way to express sympathy in a pet loss card. Here are some tips when writing words of comfort in a pet loss card:

1. Make sure to use your loved one’s pet name. Instead of saying “sorry about your dog”, say “sorry to hear about Max”.

2. If you have a specific story that your loved one ever talked about, mention it. It shows that you cared about the life of the animal and that not only were you listening, you were thoughtful enough to remember it.

3. Depending on your friend’s beliefs, mentioning the pet being in heaven can be comforting.

4. A lot of the time, pet owners feel some sort of guilt for having to euthanize a pet. It is important to let them know what good pet owners they were. Remind your loved one how awesome they were to their pet, and all the special little things they did to make their pet feel loved and special.

5. Offer your time. Mention that you are available any time to get a bite to eat, go out for coffee, or just listen. It helps not to be alone when you’re grieving. Although a lot of things probably aren’t exactly fun right away, doing things to keep your loved one’s mind off of the loss of her pet can help with the healing process.

No matter what you choose to say, make it personal. Remember that this pet played a huge role in your loved one’s life, and that your words mean more than you might know.

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Source by Lisa Falsetti

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November 10, 2022
Dealing With Customer Complaints – B.L.A.S.T

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In a restaurant, not so far away, in the not so distant future, a telephone rings, a customer complains… and the battle begins!

Handling customer complaints doesn’t have to always be a battle, with the right tools and responses you can use complaints to your advantage; to help you build your business. B.L.A.S.T is a great tool that is used by companies such as Yum! (Parent company of KFC, Taco Bell, Pizza Hut, A&W, and Long John Silvers). Training their employees in the basics of handling customer complaints. The acronym stands for:

Believe

Listen

Apologize

Satisfy

Thank

How does your company deal with customer complaints? The easiest way to find out is to pick up the phone and play the role of the complaining customer. What happened? If you were an irritated customer, would you return? Using the B.L.A.S.T guidelines, allows you to create a standardized method for dealing with your complainers and turning them into loyal customers.

Believe

This is the cornerstone of handling a customer complaint. Yes, the customer may be lying and be incorrect about their situation. It is important to understand that your customer believes that your establishment has wronged them.

Listen

Stop and listen to your customer’s complaint. I’m not certain whether it’s natural instinct or just plain stubbornness. As soon as a customer starts to complain, we start to think of how we will respond to the accusation before we are done listening, and too often the case, already have the response ready to fight back. Take a second, relax, and listen. On occasion a complaining customer will be rude, angry, and use vulgar language, stay the course and remain calm and level headed.

When the customer is done venting; in a calm, non-judgmental tone, repeat their problem. An example I used in my KFC for a mispacked order:

“What I hear you saying is that, you came in ordered and paid for 10 Pieces of chicken and when you got home, you only received 8, is that correct?”

By repeating the problem at hand, you’ve demonstrated your ability to the customer that you heard and understood their problem.

Listen and clarify. Never defend or justify. The customer doesn’t care if you were shorthanded or if you’re having a bad day, they only care that they get taken care of. No excuses, just solutions.

Apologize

Always apologize even if you did nothing wrong. From your customers’ perspective, they have a legitimate complaint, and they expect an apology. It could be as simple as “I’m sorry we’ve inconvenienced you.” or “I’m sorry I know how frustrating it is to buy dinner for my family, only not to have everything there when I get home” A sincere apology will usually diffuse a lot of frustration that the customer has. There is an exception to this rule though, if a customer calls with a critical complaint, such as food poisoning, don’t apologize, it may be construed as an acceptance of guilt, instead refer to your company’s procedures for such events.

Satisfy

Make it right. Ask the customer “What can I do to make this right for you”? Be the judge of what is fair of course, but allow them the opportunity to feel empowered over the situation. Many times they may ask for the problem be taken care of on their next visit or maybe that you talk to the person who made the mistake and correct them. We used a great system of sending out a personalized postcard apologizing for the mistake, it was a couple of handwritten sentences (yes, many times with spelling mistakes from my team members), but it was personal and always well received. We always gave them the unexpected as well, maybe a free dessert or an extra side dish just to show that we cared about them.

Thank

At the beginning, at the end, in the middle; it doesn’t matter, thank the customer for calling and complaining.

Why? With the simple act of complaining, your customer is telling you “I care about your business and your success”. They are giving you the opportunity to fix the problem and invite them back so they can give you more of their money. Puts a different spin on it doesn’t it? Thank them for giving you that second chance, for letting you know that something in your restaurant didn’t work like it normally does, for giving you the chance to make it right, and for the opportunity not to damage your reputation!

Reputation? I had to throw that one in. You work hard, day in day out, trying the best to make your business the best, and yet one unhappy customer can take it away from you. A happy customer will tell two or three friends about a good experience, but an unhappy customer will tell at least ten friends about their experience and it always multiplies through word of mouth. Case in point, when I moved cross country to my new hometown, I was at a Chamber of Commerce event and being the new person in the group, I introduced myself and what we did. No sooner than five minutes passed did I get a list of 10 restaurants in my area that in their opinion were in “need of my services”. Only one person gave me a good restaurant. I didn’t ask, I was told. To this day I still haven’t been to those restaurants as a customer, why do I want to give them my hard earned money, when they made my new friends unhappy? It may not be a rational thought, but it is human nature.

Will some people take advantage of your kindness? Of course, a rule of thumb I used in my restaurant was:

First time shame on me,

Second time shame on me, but I’m watching you,

Third time… Shame on you and I will make the decision on how I will deal with you as a customer.

Keep track of who calls to complain, names, phone numbers for follow up, addresses for your postcards. Using a binder and tracking your complaints, you will be able to detect and deter those that would take advantage of your new complaint procedures.

Adding B.L.A.S.T to your expanding toolbox of customer service tools will help you in dealing with customer complaints and turn them around so they can tell their friends what great service you have!

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Source by Albert Barneto

Views: 0

November 10, 2022
Two Relationship Killers
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Consider a primary relationship in your life where you love someone and they love you. This could be an intimate partnership, a child-parent relationship or a very close friendship. Here are the two things to avoid, if you want to make sure love is present at all times.

Relationship killer #1:

Firstly, you should never expect that because someone loves you, they need to sacrifice themselves for you and put your needs first. We often mistakenly think that the degree to which someone suffers is a testimony for the amount of love they have for us. Likewise, we mistakenly believe that if someone puts their needs first, they don’t love us. But that is not true at all. If I refuse to sacrifice myself for you, it doesn’t mean I don’t love you. It simply means I am clear on what works for me and what doesn’t, and I don’t mess with my own needs. Please don’t take this personal. I love you nonetheless, but I certainly don’t have to suffer in order to prove my love for you. Besides, if you doubt it, chances are no matter how much I suffer, you will never believe me anyway. Get this: your partner having fun while you are in hardship doesn’t mean they don’t love you. The people who love you don’t owe you any suffering on their part whenever things are not working out for you. So don’t be jealous when your loved one is out with friends while you are working hard or cooking alone at home. No one needs to put their own life on hold only because yours is (even when they truly love you!). Of course, you can ask for support. That’s perfectly reasonable. But asking someone to sacrifice themselves and to suffer so you can feel loved – that is totally unreasonable. And it is a sure relationship killer.

Relationship killer #2:

The other way to kill a relationship is by trying to prove your love for someone by sacrificing your own needs and suffering as a consequence. See, whenever you suffer, there is no real love to speak of. If you were doing something for someone because you wanted to and because you loved them unconditionally, you wouldn’t be suffering. But if you sacrifice yourself out of obligation and/or guilt, the unconditional love is gone and you are likely to expect something in return. In other words, you try to manipulate someone into loving you back by doing things for them which they then have to repay you for. Sadly enough, you are playing a game thinking you can control someone else’s feelings and buy their love. Of course, the result is just the opposite – you are slowly but surely killing the relationship. So stop that immediately by starting to put yourself and your needs first. Find your own truth and start honoring it. Understand that you are allowed to have a good time without feeling guilty when your partner does not want to or cannot participate. Of course, you can support them when they are feeling low. But you don’t have to suffer with them or else you will become resentful and kill the relationship as a result.

In conclusion:
- Love should be free – no attachments, no suffering, no trading of favors, and no feelings of obligation and guilt.
- Love should be independent – I love you and I put myself first; you love me and you put yourself first; we love each other and we honor our independent needs nonetheless.
- Love should be by choice – I love you how I want to, not how I feel have to.
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Source by Vyara Bridgeman

Views: 0
July 26, 2022
Guilt Is a Useless Emotion

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I once read a poem in my doctor’s office that went something like this:

If a child is raised in anger, he will feel anger.

If a child is raised with guilt, he will feel guilty.

If a child is raised with shame, he will feel shame.

If a child is raised in love, he will feel love.

Of course that is not the whole poem, but you get the point. At the time, the poem was just something to read while I waited. Today the meaning is very clear to me.

There is no such thing as guilt, you can not go to the store and buy a pound or bag of guilt. It is a man made ego minded emotion this is detrimental to humans living to their full potential.

It seems to me that women carry so much guilt, whether it stems from being a woman, or the way we raised our children, or for being/or wanting to be successful, to being a sexual human. Where did it all start? Why have we continued to pass this down to each new generations? Mostly we do it subconsciously, although I know there are times when it is used for our advantage in certain situations.

Many moons ago the female Goddess energy was the ruler of the universe, it was honored and valued. Did guilt arise when we stopped tuning into that energy and were slowly overpowered by the male energy that has dominated the universe for so long? Was it because we stopped standing our ground and speaking our truth? Who knows were guilt originated. I am not saying it is a female only emotion, nor pointing fingers, my point is for this particular article only.

Guilt has kept so many stuck in the same place for years. Why? Just like the poem says, it is passed down through the stories we were told by our parents, grand parents, teachers and role models. These stories were laced with limiting beliefs that blocked us from actually achieving our full potential in life. This useless emotion became a vicious circle that many are still trying to step out of, or don’t even realize they are in.

You get a great idea that will make you lots of money. Then the guilt thinking comes in, you start to hear the old stories, you can’t make more money than your husband, men are supposed to support the family. You may even see pictures of the people telling the story. OR, even worse, you want to express your sexuality, or your sexual energy and you hear that voice saying “good girls don’t” Well guess what, good girls do, and they have been for years. Even those catholic girls in high school that swore they didn’t. They do. We are human, we don’t need to feel guilty about anything. Especially expressing our true selves.

Everyone makes mistakes in life, everyone, but we don’t have to feel guilty about it and carry it with us the rest of our lives. It is time to free ourselves of the past, to free ourselves of the guilt. It is time to forgive ourselves for allowing this to control any part of our lives.

Guilt is an emotion that comes from fear based thinking. If we take a really good look at why we feel guilty for any particular situation, we will probably find that the thought process is not even our own. It was something passed down to us from someone else. And to think that is ruling our days!!

Fortunately there is good news. The choice is ours as to whether we are going to carry the guilt or let it go. Give a moment to think how you would feel if you decided right this moment to let go of it. How would it feel to have put it out with the garbage on Monday morning? How does it feel? Light? Airy? Expansive? Free? Now ask yourself this. How often do you put the garbage out at the road, and then walk out and bring it back into the house? Never, Right? The same needs to happen when letting go of guilt, once you put it out, leave it out. In fact don’t even go back to smell it.

How can we release guilt? Here are a few steps, these require you to love yourself enough to give yourself permission to feel good.

1. Write out what you feel guilty about and why. Take one situation at a time. Write adamantly, don’t hold back on anything, just let it all go, allow the emotions to flow. Once you are done, set it down for a few moments, then go back and write a little more. Don’t read it over, tear it up, or burn it. As you do repeat ” I now choose to let this go, it no longer affects my life.”

2. Sit with a situation in mind. Allow yourself to feel how you feel about it, visualize it, hear the stories other people told you about the situation. Feel where you feel this in your body. Ask yourself if the guilt is yours or someone else’s? When you have sat with it as long as you can, allow yourself to let it go. Visualize it leaving your body, feel it leaving your body and say I choose to let this go. I no longer need this in my life. I let it go in exchange for peace.

3. Change the story you are telling yourself. When you catch yourself telling the guilt story either to yourself or someone else, catch it, don’t judge it, just change it to something possible, with positive emotions. Be aware of the thoughts and stories you tell, after all we get to choose them, they might as well be positive.

4. Train your mind to look for thing to be grateful for. You will always find what you are look for, again it might as well be positive.

In doing these exercises you will release the emotional charge the thoughts and feelings have on you. The memories may come back from time to time, but the emotions will not take hold of you, they will not control you. Quilt really is a useless emotion, with a choice attached. I choose to let it go so I can soar through the rest of my life free as a bird. Free yourself.

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Source by Jenn Prothero

Views: 0

July 24, 2022
Attach or Detach

Here?s the problem – most people do the first step but fail to do the second one. What is attachment? It?s when we own a belief, opinion, judgment, attitude or principle ? whether right or wrong or good or bad. This ownership drives all of our emotions, decisions, actions and behavior. We attach to expectations, frustration, being right, judging others, our stressors and disappointments. We attach to our pain, guilt, obligations, goals, needs, problems, failures, achievements and successes. Again none of these are good or bad ? right or wrong but we attach to them nonetheless…

Read More
http://www.associationofmarketing.org/articles/view.php?article_id=7266

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March 29, 2020
Stopping Employee Theft in Your Coffee Business

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Regardless to how good of an employer you are, and even if you treat your employees well, understand that employee theft is a reality, and you need to control it. While it may only be a very small percentage of your staff that might steal from you, it can have a significant financial impact on your coffee business. If it goes unnoticed, employees will usually become even more brazen in their activities.

When it comes to theft, your employees are likely to fall into one of the following four categories:

Mr./Ms. honest – these are people who would never think of taking anything if it doesn’t belong to them. If they happen to go home with one of your ballpoint pens, they’ll bring it back the next day, and feel guilty that they took it home, even though it was unintentional.

Incidental theft – these are people that will take home your pen by accident, and will keep it. And, they may scarf a piece of cheesecake occasionally when you aren’t looking, even though they know they shouldn’t. Because these items have minimal value, they have no great sense of guilt related to their activities.

Theft because of need and opportunity – this is when you have an employee who is perhaps living on the edge financially, and because they have the need, and because your security may be lax, they’ll take advantage of an opportune situation to take something.

Compulsive theft – this is the person who is always looking for something to steal, and they have absolutely no conscience about it. They typically rationalize the theft in their own mind. They consider you to be the rich, fat cat, and feel that they are over worked and under paid, so stealing from you is justified.

Employee theft probably exists to some extent within your operation, whether you are aware of it or not. You can most likely live with incidental theft, provided it doesn’t get out of control. Theft related to need and opportunity is, in reality, your fault. These people would probably not steal from you normally, but a lack of security procedures has created the temptation and means for them to do so. Compulsive theft must be discovered, stopped, and you must eliminate the person(s) responsible.

Losing product due to theft:

Your employees may have no desire or need for a sleeve of 12oz. paper cups, Java Jackets, or a roll of toilet paper… but they might like a frozen cake, gallon of chocolate sauce, 6-pack of beer, or a bottle of wine.

There are some simple things you can do to greatly reduce the chance of being ripped-off. First, don’t allow your employees to store their jackets, backpacks, and purses near where you store products. This makes it incredibly simple for someone to slide something into their bag or jacket pocket when no one is watching. I always had my employees store their personal belongings in the cabinet under the cash register (where someone would always be watching), or in my office, under lock & and key.

Second, keep the back door of your store locked with a key at all times (you or your supervisor being the only ones having a key). If customers regularly enter through your back door, this may not be an option. If your back door is an emergency fire exit (and it probably is), you’ll need to install an alarmed breaker-bar. The whole point is that you don’t want your employees to be able to flow in and out of the back door without you knowing about it. Carrying product out the back door to their car, a hiding place for later pick-up, or an awaiting friend, is one of the most common ways products will exit your store.

Once you have made it more difficult to stash things in their personal belongings, or carry them out the back door, employees may resort to hiding items in the trashcan. Of course you will unlock the back door to let them take out the trash. If they have hidden something in the trashcan, a dumpster-diving expedition will certainly be planned for after-hours to recover their treasure.

Periodic trashcan checks should eliminate this problem, or make it a far less appealing option to anyone considering this method to smuggle things out of your store. Buy a long handle 3-prong garden rake. When employees ask to take out the trash, accompany them, and have them hold the can up on the edge of the dumpster while you rake out the trashcan contents. What you are looking for are things that might have been hidden in the trash, but you can tell your employees that you are merely making sure that small wares aren’t being accidentally thrown away. During the 15-years I owned and managed restaurants, I discovered everything from six-packs of beer, bottles of wine, and packages of steaks hidden in the trash!

Another situation that will create an ideal opportunity for employees to steal from you is having only one person working in your store. If your baker comes in each morning a hour before you or the next employee, or if one person is left to clean and lock-up the place at the end of the day, opportunities for theft abound. As the old saying goes: when the cat’s away…

Always try to have at least two people in your store at all times. If there is not justification for having a second employee on the clock, then you will need to be that second person. If this requires you going from a 60-hour workweek to 80-hours, then this may not be a tolerable option. If this is the case, then at least invest a couple of hours more each day for a week or two to do some detective work.

During those times of day when only one employee is working, park at the far end of the parking lot, or across the street, so that you will reduce the chance of being noticed by your employee. If they are familiar with your vehicle, use your spouse’s or friend’s vehicle for a few days. Watch carefully (with binoculars if necessary). I know this all sounds a little CSI – like, but better to rest-easy, feeling fairly assured that your employee isn’t carrying away your store when you’re not watching. If I had the time, I could tell you countless stories of my experiences in catching employees red handed, loading the trunks of their cars.

If you suspect that theft of product might be occurring, but you’ve seen no direct evidence of it, then conducting a daily key item inventory may shed some light on the situation. Write down a list of 15 to 20 products that you think would be most appealing for someone to steal. In your coffee business, this might include items such as coffee, syrups and sauces, smoothie puree, biscotti, cookies, and desserts, sandwich meats & cheeses, and of course beer & wine (if you serve those from your operation). Then take an inventory of these items every day. Your employees don’t need to know what you are doing, and if they ask, simply tell them you are taking an inventory for ordering purposes.

What you are looking for are anomalies in usage. For example, let’s say that from your daily inventories you assess that you use about half a gallon of chocolate sauce per day. Then, one day you notice you used 1 1/2 gallons of chocolate the previous day. This should send up a red flag! Why did you go through an extra gallon of chocolate? Were you significantly busier yesterday, or did you featuring several drink specials which contained chocolate sauce? A quick review of individual item sales from yesterday’s cash register report should provide you with the answer. If you average one ounce of chocolate per beverage, then using 1 1/2 gallons means you should have sold approximately 192 beverages containing chocolate (128 oz. per gal. x 1.5 = 192). If this was the case, no problem. But, if you discover that you only sold 64 beverages containing chocolate, then 128 oz. (or 1 gallon) is unaccounted for and missing! A good indication that it probably walked out the door. If this happens, keep track of who was working on the day of the shortage. If this happens continually, eventually you will discover that the same person or persons were working every time.

Theft of money by employees:

Hopefully, none of your employees will have the desire to steal products from you, but some will be tempted by the lure of cold, hard, cash. Everyone could use an extra $20 a day. Employees who steal money from you will definitely hurt your bottom line, and must be eliminated.

The first way to reduce cash theft is to have a cash handling policy in place that will discourage theft. If multiple employees are using the cash register, and no one person is responsible, then I can almost guarantee that your cash drawer will keep coming up short on a regular basis. The fact that no one person can be held responsible for the shortages, will make grabbing a bill or two easy and appealing.

Implement a policy that one, and only one person is responsible for the cash register for the entire shift. They should count the drawer at the beginning of their shift to verify that they are starting with the designated change bank. Then, they should be the only person to ring up sales and make change. Even you, the owner/manger, should keep your hands out of their cash drawer. Finally, at the end of their shift, they should set aside the amount they started with in the change drawer, and total all the remaining cash, checks, and charges, and balance against what was rung up on the register. If they started with the right amount of money in the cash drawer, rang everything up, took all the money, counted back all the change, and they end up short… who’s fault is it? It can only be theirs. By implementing this simple policy, I once took an operation that was coming up $100 a day ($3,000 a month) cash short, and reduced it to $3 a day, in just 30 days! That’s over a $2,900 bottom line improvement, (in case you didn’t do the math)!

The other common method that a cashier might use to steal money from you is by using a method called, building a bank. This is the process of not ringing up items on the cash register, while still taking money from the customers, and then pocketing that money. Typically, they will obscure the view of the cash register display on the customer’s side with something like a flower, retail merchandise, or by turning the display so that it cannot be easily seen. Then, they will pretend to ring up an item, but will hit the no sale key instead, popping the drawer open so they can take the cash and make change, but in reality, they haven’t rung up anything. The other thing they might do when it is busy is to just not shut the drawer between transactions. They simply convey verbally the cost of items ordered by customers and take the cash, but once again, nothing has been rung up.

A cash register that prints out the order on a remote receipt printer to the person who will be preparing the item, can eliminate this problem. Quite simply, if the item isn’t rung-up, it won’t print out. If your barista or cook won’t prepare anything without a receipt (and they shouldn’t!), it will force your cashier to ring everything up.

If you observe that the cash register’s display has been blocked from the customer’s view, or there are an excessive number of no sale indications on your cash register’s detail tape, or notice that your cashier is not shutting the drawer between transactions, beware! While these may not be indisputable proof that your cashier is stealing from you, they should certainly heighten your vigilance to find out if something is going on.

If your coffee business only warrants having one employee working at a time, perhaps because you own a cart, kiosk, or low volume drive-through operation, then how do you go about keeping your employee from building a bank and stealing from you? The best solution I’ve seen is to turn your customers in to watchdogs. Affix a sign to the front of your cash register, in plain sight of the customer, that reads: If you don’t receive a receipt with your order, it’s FREE! This will force your cashier to hand each customer a receipt for their purchase. If they are building a bank, this means they will have to hand the customer a receipt that says – NO SALE; something they probably won’t fell comfortable doing!

The financial impact of theft of money can be extremely damaging, for example: Let’s say you have a cashier who is skimming off $20 a day by not ringing things up, and then pocketing the money. Not only did you loose the stolen $20, but the $7 of ingredients that were probably used to produce the ordered products; ($20 x 35% ingredient cost = $7.00). So in reality, you lost $27, and it will take an additional $41.54 in sales, to recover this loss; ($41.54 x 65% gross profit = $27). $27 a day lost to theft, X 21 days worked by the employee = $567 lost cash & product per month; $872 extra sales required to offset this loss. (Annual loss, $6,804; $10,468 in additional income required to offset loss.) You must stop theft of money!

Theft of money management:

If you have a manger running your operation for you, this can really create an opportunity for cash theft. Just about anyone who has ever run a food service operation (self included), probably felt that they were over-worked and under-paid. Some are tempted to grant themselves an unapproved raise. Your manger has the control key to the cash register, which means they have the ability to back off items that were sold. You would be wise to check your cash register detail tapes on a regular basis. If you see multiple items backed off in groups, or more worrisome yet, all backed off at the very end of the shift, beware!

A good way to keep this from happening is to establish a policy that no over-rings are to be backed off of sales on the cash register with the management control key. Instead, when the cashier makes an over-ring, they should take the receipt, write over-ring on it, sign it, and put it in the cash drawer. At the end of the shift, the total of all over-rings should be manually backed off of the sales total indicated on the cash register report.

Many years ago I had a manager that was stealing money from me in another creative way. This manager, who opened the store each day, would reset the cash register by Z-ing it out after the first half hour of business. He would then pocket the proceeds earned during that first half hour. Because additional sales were generated during the second half hour, the cash register hourly sales report would always show sales for the first hour of operation, thus eliminating any suspicion that something might be going on.

It wasn’t until I was doing a routine audit of cash register Z tapes that I noticed something wasn’t right. When you run a Z report, which resets the cash register at the end of each day, a multi-digit number will usually be printed somewhere on that tape. The next time you Z the register, that number will advance by one digit. I noticed that even though the tapes were sequential in date, every other number was missing. This tipped me off that the register was being Z-ed twice a day! When I confronted my manager with the tapes, his look of panic spoke volumes.

If you are doubting the honesty of any of your employees or managers, one way you can verify or eliminate your suspicion is by baiting the cash drawer. Slip an extra $20 bill in the drawer sometime during the day when they aren’t watching. If they don’t end up reporting at the end of their shift that they were $20 cash-over, I’ll do it a second time (just to make sure). If they don’t report it a second time, you should have no doubts that they are indeed, dishonest.

NEVER accuse an employee or manger of stealing unless you catch them red-handed (actually stuffing money into their pockets). Even though the circumstantial evidence may be overwhelming, unless you actually catch them in the act, they are likely to deny your accusations, and will probably file a complaint against you with the department of labor! The brief moment of satisfaction you will gain from letting them know you are aware of what they’ve been doing, will be quickly overwhelmed by the legal predicament you will find yourself in. You will be far better off to not make accusations. Simply terminate their employment. In many states, you do not need to provide a reason as to why you are letting them go. When they ask for an explanation as to why you are firing them, simply say: I don’t need to give you a reason, I’m just letting you go, goodbye!

Finally, don’t over look technology to help you with security. Surveillance cameras linked to a DVR (digital video recorder) can provide you with peace of mind, or evidence of theft. These systems have become very affordable, and many are easy to install. The value of these cameras go beyond having a video record of operations. The mere fact that employees understand that their activities are being video recorded, will usually discourage them from doing things that they might not think twice about, if no one was watching.

I think it’s important to not be paranoid about employee theft. Certainly, you don’t want to be constantly obsessed with the suspicion that everyone is stealing from you. In reality, the majority of your employees are probably honest people. But, you would be wise to establish some simple safeguards, and maintain a watchful eye.

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Source by Ed Arvidson

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February 6, 2020
Christian Healing Ministries That Heal Stress and Addictions

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Jesus Christ is the focus of Christian healing ministries that are freeing people from the pain associated with unhealthy lifestyles. There is no limit on the healing power of Jesus Christ. If you are seeking: healing addictions, healing sexual abuse and healing stress: Jesus cares about those things that are plaguing you and here are some Biblical steps that you can take. Spiritual healing is available that will reach deep into a person’s soul to bring healing from these common torments that are destroying the peace and joy that is available through Jesus Christ.

Healing Stress
Negative emotions are damaging to the body. Modern life is often characterized by a mounting sea of daily pressures and stressful events which are coming at us from every direction. However, the real culprit behind stress and stress related illnesses is not the situations and daily pressures that are bombarding us. The real culprit behind stress is the emotional reactions that we are experiencing on the inside of us. These emotions can generate sickness within our body. Negative emotions release chemical reactions in the body and the brain. These reactions affect organs on every level including the stomach, heart, large muscles, and the cells throughout the entire body. The most dangerous emotions include: un-forgiveness, depression, rage, anger, worry, fear, grief, guilt and frustration.

What many don’t realize is that these negative emotions are sins which not only cause disease, they also separate us from God. But don’t be discouraged! There is good news in this truth and that good news is that there is a way out from disease and the entrapment of negative attitudes and emotions that may have affected our personality. Jesus died so that we can be free of sin’s penalty and from its power. We can be set free of negative emotions which cause sickness and stress by learning how to carry our negative emotions captive to Christ (2Co 10:5). Healing stress can bring forth physical healings in our bodies from diseases that we may be experiencing. It always carries us closer to Christ.

Healing sexual abuse
Sexual abuse is a traumatic experience that causes deep feelings of rejection within the abused person. Sins against us whether they are verbal, physical, or sexual are tremendously painful experiences which can leave us experiencing symptoms in our personalities such as shyness, perfectionism, exhibitionists, and high achievers. Healing sexual abuse is necessary in order to experience the freedom of life without seeking the approval of others. The deep-rooted pain can cause a person to hide their real self from others and even from God. Healing sexual abuse will result in meaningful relationships and purposeful lives which are filled with true intimacy with others and with God.

Healing Addictions
Addiction is bondage in our lives. Spiritual/emotional bondage is anything in our lives that controls us or rules us. God-and the peace and freedom He gives us-is to be our master, not sin. Some things that are good can become addictions when moderation is passed such as eating, work, relationships, shopping, prescription drugs and entertainment. Other addictions are based on things that are not good to begin with such as gambling, foul language, illegal drug use, and pornography. True freedom from addiction and healing addictions begins with allowing God to work on your emotional life and honestly admitting deep down inside that you need His help to help you surrender and stay surrendered to His leadership in your life.

Healing stress, healing addiction, and healing sexual abuse are only possible through the power of the cross. When you receive Jesus Christ as your savior you receive the Spirit of Jesus Christ within you. Becoming a new man is not always immediately visible outwardly, but as you seek God through the truths found in the Bible you will experience freedom in your life as never before. Christ in you is the hope of glory (Col 1:27):
To them God willed to make known what are the riches of the glory of this mystery among the Gentiles: which is Christ in you, the hope of glory.

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Source by Scott J Thomas

Views: 0

February 5, 2020
Mad Max: Fury Road Relationship Between Max and Furiosa

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Mad Max Fury Road is a story that involves two people by the name Max and Furiosa who are held captive and are trying to escape from Hamlet. Max is suffering outrageous fortunes but he is learning from the fortunes while Furiosa has decided to oppose her troubles by taking arms against the leaders of Hamlet. The two characters cannot trust each other at first but due to their circumstances they are forced to rely on each other. Love is humanized in the film where much deeper conventions of love are stricken. Max is a loner and a survivor who has been traumatized in a world where people see him as a blood bag. On the contrary Furiosa is scheming a plan to help five women who have been enslaved in Hamlet. Max does not trust Furiosa and in most parts of the film he holds a gun on her.

In the middle of these desperate attempts to escape from their chasers Max and Furiosa are forced to depend on each other. In many love stories people fall in love due to opportunities provided by circumstances. The alignment of stars and personal chemistry makes this happen. Every step of the relationship between Max and Furiosa is dictated by their circumstances where the only choice they are left with is to depend and rely on each other and to trust each other in order to escape. In a critical scene Furiosa asks Max his name but he refuses to tell her. In the end Max finally tells Furiosa his name where there are significant happenings throughout the film. These moments appear and vanish in the film through chaos and apocalyptic alienation. Max and Furiosa form an alliance where they try to fight motorcycles that are shooting at them. He leaves her to go to a mission which may be fatal but fears no one would notice if he dies in the mission. Max talks Furiosa out of a suicide mission when he says “you know hope is a mistake”. Max eventually decides hope is not a mistake and went back to Furiosa where he joins her and they plan to oppose the forces against them.

At the end of the film Max does not stay with Furiosa but he leaves and eventually disappears into the crowd. A modern viewer can resonate with this film in that modern man is alienated from himself, from the world and from fellow men. Everyone is alone, with a deep sense of insecurity, guilt and anxieties which are results of separation that cannot be overcome. Like Max lost his identity in the opening moments, man has lost his identity too, and is overcome by powerful forces that own him. Like Furiosa man tries to search for a community and the only thing he finds is a desert.

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Source by Jeremiah Otieno Odhiambo

Views: 0

January 31, 2020
Implementing the Character’s Emotion

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Now that you’ve made your choices, how do you generate these emotions and make them readable to the audience? And in doing so, does the actor actually feel the emotions or simulate them? These are the questions often asked about portraying the emotion.

It stands to reason if you want to affect the audience and move them, you, playing a credible character, must feel these emotions. But you must feel them in such a way that they are conveyed to the audience. The degree to which you feel each emotion will depend upon the method used to carry out this feat and your ability to master it.

Actors involved in what is termed “Method Acting” use the affective memory to generate emotions. Here the actor recalls a specific event in his own life that has produced the required feeling. For example, remembering a fight you had with another student in high school could arouse the emotion of anger. Recalling the death of a close relative might generate the emotion of grief. The actor has to go back, replay the experience leading to the desired emotion, and relive those moments in his mind. Through this method, the required emotion is revived.

There are some benefits and also some dangers in this type of emotional generation. Usually, emotions derived this way seem real and deeply moving, more so to the actor than the audience. That’s because there is a tendency to internalize these emotions so much that they are not fully evident to the viewer. The method does make producing emotions seemingly easy, but at a price.

You will find that emotions take time to evolve naturally and resist abrupt changes when deeply seated in ones memories. This is one reason few method actors make it big in comedy. The changes come too quickly and the method actor usually lacks the required emotional agility. Likewise, the method process takes up valuable rehearsal and production time as the crew and cast wait for the actor to call up the right emotion.

Actors using the method are likely to develop a self-indulgent feel “good” attitude which gravitates towards feelings closest to them and more comfortable for them to generate. The performance then becomes one that portrays the actor’s reality and not that of the character’s. You can see how this may stifle the actor’s imagination and limit the search for emotional truth. The method can likewise put a strain on the actor’s psyche. Using past events, some best left forgotten, can lead to situations where it affects the actor’s mental stability.

Another danger is that of becoming bored with affected memory when repeated retakes or performances are required. There is also the possibility of being so caught up in past events one does not relate as the character.

Another way to generate emotions is to rely on our emotional conditioning, the response to the word for each feeling, and the ability of the body to remember the resulting psychical (of the mind) and physical manifestations. This is the most simple way to produce a whole galaxy of emotions with little effort on our part. Through our childhood development, we are conditioned by the meaning of words, especially with regard to feelings. We respond to them without any conscious thought.

Consider what happens when you are reading a good book or script. You become involved in the story and the characters. You see and feel their imaginary lives. And when you read the action description:

She looks at his mangled body, then turns away in horror.

The word itself is the key to what she felt. We don’t have to stop, reflect back on our own life and re-experience some past event. The response is there before we have time to think. The word itself is the signal to release all the information we have on that emotion and to invoke an immediate physical response.

This response, while different for each person, still has common traits and a behavior that tells others which emotion is being felt. It’s almost a language in itself and a part of our non-verbal communications.

The answer lies in the fact that in physiological terms, all emotions have similar traits. That is to say, if we were to test the breathing, heart rate, skin temperature, etc., of two people, one feeling rage and the other joy, the “physiological” signs would be similar. Only the face, gestures, and movements would signal which emotion they were actually feeling. But the flush face, the pulse and breathing rate, etc., all signifying the energy behind the emotion, would determine the size of the emotion.

Through this process we have learned how to reach and find the emotion. But now, we must learn to nurture these feelings, making them big enough for the performance and adapting them to build credible characters.

As we said before, emotions are feelings large enough to change your life or destroy it. They need to be powerful feelings, but all that you start with is the small sensation that the name of the emotion evokes. How can we make it bigger?

As the word for the emotion is read, the actor feels a response centered somewhere in his body. For instance, the emotion “fear” might be felt in the stomach. For another actor, it might be in the shoulders and neck. “Suspicion” causes a response around the eyes. “Lust” in the hips or groin. “Desire” could be centered in the lips or eyes.

For each actor, the physical response will vary. But the important thing is that the actor feels these responses and gains awareness of the physical symptoms in various parts of his body.

How do we increase this energy level? There is a technique taught by Don Richardson, a well know TV director. It entails having the actor do some physical exercise, such as push-ups, until he’s completely out of breath. Then after a few moments, have him go directly into the scene with his intention and emotion located and his energy level at a peak. The result is astounding for the actor has no choice but to emote fully.

The next step is to start from a totally relaxed state, retaining the selected intention and emotion, and then adding what one felt at the peak when doing the push-ups. The small emotion is now fired up by a burst of adrenaline flowing through the system as the body recalls the effect of the push-ups. The emotion is thus achieved on a large-scale as the body remembers the intense physiological state attained earlier.

Now the emotion has to be adapted to create your specific character and make him credible. Credible emotions evolve out of the character’s perception of reality, their past experiences (emotional conditioning), and their struggles as they strive toward their goals. Character traits also play an important role in how emotions are adapted. For instance, is the person you are portraying mainly rational, mainly emotional, or a balance of the two, and as a result, would the feelings be out flowing, repressed, or even denied? Is there a great deal of inner conflict where the emotions hinder the character from attaining his objectives? What is the dynamic range of feelings, deep, shallow, explosive, etc? All these questions entail a good deal of research into creating the emotional side of a credible character.

To assist you in this regard, I’ve compiled discussions on the various root emotions. These will aid you in adapting emotions to your specific character needs as well as improving your emotional range and awareness.

The third way is indicating the emotions through mechanical acting. In this approach, the actor imitates the physical responses, mimicking the feelings as displayed by others.

People often look down on mechanical acting. Yet sometimes, it becomes a necessity, either as a training or rehearsal tool exploring possible expressions and gestures, or when the actor’s capabilities cannot fulfill the complex demands of the scene. Demands such as acting style, blocking, stage business, and/or quick precise attitude and emotional changes. In such situations, producing the proper emotional illusion through a mechanical response will, at least, get the actor through these difficult moments. In addition, the director may specify certain emotional responses to attain his vision of the story, responses that may later be embellished by editing, music, and sound effects.

In certain types of performances, particularly comedy sketches, parities, certain sit-coms, and stand up comedy, experience with mechanical acting is helpful. This is because the focus is centered on dialogue emphasis, precise timing, and clarity of attitudes. Likewise, exaggerated surface emotions have the potential to change unexpectedly while deeply felt realistic emotions lack this agility.

This is not to say that the actor can not feel these emotions. In fact, he may feel them strongly, but the expression begins as a duplication of some physical response. Life studies, the observing of real people, nurture such emotional beginnings.

ROOT EMOTIONS

Root emotions are active feelings that clearly convey what is felt by the characters. They do not include happiness, sadness, sorrow, loneliness, or nervousness as these are not an emotion, but state of being. The state of being is the result of an emotion. Root emotions, on the other hand, are the cause and have the potential to affect change.

Certain weak and complex emotions should likewise be avoided. Self-pity is weak in that it plays an effect and is often resented by the audience. Disinterest and boredom are likewise poor choices as there is no active force to motivate the character.

Love is also a poor choice in that it is a complex emotion made up of many other feelings. Playing the feeling of love immobilizes the character rather than inviting action. A better choice would be to play a definitive emotion such as desire, lust, joy, exhilaration, or exaltation. In an unstable relationship, other emotions such as jealousy, suspicion, bewilderment, guilt, or embarrassment, along with certain other emotions, could be used. By using one single root emotion at a time, subtle shadings within the realm of love can be clarified as well as changes in the intensity.

The emotions of the characters also plays into the psychological experience of the audience. It might be the voyeurism of spying on the character’s intimate moments. It could also be the vicarious experience of identifying with character’s situation or problems. It could also be the visceral feelings we experience as we watch the scene unfold, emotions moving us and giving us a sense of being entertained. Strong emotional choices and well-portrayed feelings, ones that connect with the viewer, can make for interesting and memorable scenes. They can help create anticipation, arouse curiosity, and hook us enough to be intrigue and involved.

I’ve divided the most frequently used root emotions into five different categories. Each category is further clarified as to the focus of the emotion as well as the general clarifications.

ROOT EMOTIONS

DARK EMOTIONS (Active – Directed at or against someone, something.)

Rage

Anger

Hatred

Contempt

Jealousy

Envy

SURVIVAL ORIENTED (Reactionary – Selfish – Focus usually on the expected or imagined.)

Terror

Horror

Fear

Dread

Despair

Grief

Suspicion

Apprehension

GOAL ORIENTED (To find, to obtain, to provide – Focus usually on wants.)

Revenge

Ambition

Greed

Hope

Desire

Lust

Determination

Compassion

Curiosity

EGO ORIENTED (Self evaluation & result – Focus usually on masking or repressing the emotion.)

Guilt

Shame

Indignation

Intimidation

Embarrassment

Resentment

BRIGHT EMOTIONS (Enjoyable – upbeat – Focus usually on the continued enjoyment.)

Exaltation

Joy

Pride

Exhilaration

Wonderment

Bewilderment

In review, root emotions motivate you to fight for something, to change your (the character’s) life or destroy him (the character’s dramatic soul). To be a strong sympathetic character, always play the fighter’s side of the emotion, thinking you can win rather than loose. The physical look of one particular emotion will vary depending on the story situation, the characters, and the natural casting chemistry within and between actors.

To further your knowledge on this subject, explore the physical sensations, sources, forms, and dynamics of the most common root emotions. Observe emotions in life as well as performances. What are the defining characteristics? Such research will also serve as a guide in stretching the clarity, strength, and polarity of your emotional repertoire.

This chapter has covered the basic skills used in building and implementing dramatic emotions. Use these skills as tools to nurture and release the character’s true feelings, and make them readable to the audience. Most important, create emotions that serve the story, its genre and purpose.

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Source by Erik Sean McGiven

Views: 0

January 30, 2020