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THE WINNING STORY VS THE WHINING STORY THE PERILOUS PITFALLS OF PITY IN ADVOCACY JESSE WILSON, MA LESSONS FROM THE STAGE: COMMUNICATION BREAKTHROUGHS WITH THE POWER OF THEATER Without question, one of the most common greatest dangers for both the actor and trial lawyer is making the assumption that the audience actually cares about the story you’re telling. Please believe me that I’m not purposely trying to be callus by assuring you… they don’t. I repeat: your audience does not care. Ever. Unless you make them care. Bottom line is this: you have to earn your audience’s

This summer, I had the privilege of teaching at Gerry Spence’s Trial Lawyers College in Wyoming. It was an amazing experience, one I’ll never forget. Over 60 trial lawyers I got to work closely with were introduced to the monologue, a powerful communications tool designed to help tell the winning story in the courtroom and open up the “storyteller” fully to their greatest storytelling instrument

As a native Los Angelestian, I'm in awe of the snow. I'm still in awe that something so pure and white could fly down from the sky and turn a trashcan into an object of beauty. I'm fascinated by the innocence of snow and also by the destruction that it can cause as well. Not unlike fire. I love candles. I love the ritual of lighting candles. I'm not blind to the destruction of fire. Or water. I love water. I love rivers, baths, waterfalls, puddles, rain-- I

WHAT ARE THE "BESTS OF YOUR WORSTS?" WHAT ARE THE "WORSTS OF YOUR BESTS?" From classic films like "Kramer Vs. Kramer" to "The Godfather," Robert McKee in his brilliant book for the screenwriter, STORY, proceeds to give examples of films where the worst situations turned out to be best possible thing for the protagonist and the best turned out to be the worst. In order to make the change you’re seeking to make in your life (your “stretch”) and to have it show up in every area of your life,

An actor gets ready to take to the stage… the costume is on. The makeup is on. The lines are memorized. The audience is in their seats. The stage lights dim… it’s show time. The lines come out of the actors mouth. But the performance is flat. The voice is strained. The body is frozen. The fire is out before it’s even begun. You might have “great content” up there, but who cares? The disconnect is immediate. No matter how hard the actor tries to ignite the