Picture This!’s amalgamation of reflective writing and story writing has exposed the similarities and dependence of each text types with one another. Although different in their applied method, both texts travel forwards toward an ending point and/or realisation. Thus, teaching me in this studio that my previous experience with screenwriting did not acknowledge the interconnectedness between fictional narratives and it my own writing’s cathartic realism. Consequently, placing an onus on reflective writing, such as this, as it helps facilitate my imaginary’s journey into the depths of story telling.

This inter-relativeness is not coincidental however, with equilibriums becoming a seemingly apparent theme in this course so far. As class unfolds at the hands of Stayci’s extra-fictional rubric, I’ve debated the role of screenplay as an ‘enabling document’ (Prince, 2010) and/or intrinsic to a ‘developmental process’. Deciphering through a new found array of terminologies such as Big Print, Master Scene Technique, Delineation, and Exposition the good and bad characteristics of writing. But more importantly, the impact these idiosyncrasies seem to have on each other once in the text type of a script.

‘It is worth noting that you will learn not only from the ‘in the head’ reflection but also from the process of representing the reflection itself’ (Moon, p187) symbolises these comparing connections. As Moon suspends internal and external whilst guiding the audience, whether this be just the writer themselves or not, to a place similar to McKee’s subversive ‘vivid action of now’. Further, as screen writing’s objective is to communicate the potential of a film, and films purpose being to ‘yield an emotional experience (Bordwell, p31 of Ingelstrom) a further paradoxical metaphor between sender and receiver appears. Only to be similarly played out once again between the fictional narrator and fictional narratee. Thus, contrary to McKee’s simplification of film momentary vividness, the construction of story telling itself exposes similarly to the travel of reflective writing. As  patterns and constructions of a reality are unbeknownst to the speaker until it is received.