Plot Whisperer for Writers and Readers Writing Realistic Injuries Quick Contents Introduction General remarks What's normal?Reactions to injury - including emotional reactions, fainting and shock. Introduction Characters climbing cliffs with broken arms or getting knocked out for an hour or so and then running around like nothing happened, bug me. I’m not any sort of medical expert - research for this article has come from a variety of sources from medical texts to personal experience – (I’m just a teeny bit accident prone…) I do historical reenactment and a large part of information here comes from the ‘traumatic injury’ (or ‘the nasty things that can happen to you in combat’ information we give the public and new members to make them go ‘urggh , I’m glad this isn’t for real’. Back to Quick Contents General Remarks There’s a lot of ‘relatively’ and ‘probably’ in this article because everyone reacts differently to injury. What’s Normal…? For a normal, reasonably healthy adult the following reading are ‘normal’. Pulse rate between 60-100 beats per minute.
The Thirty-Six Dramatic Situations The Thirty-Six Dramatic Situations is a descriptive list which was created by Georges Polti to categorize every dramatic situation that might occur in a story or performance. To do this Polti analyzed classical Greek texts, plus classical and contemporaneous French works. He also analyzed a handful of non-French authors. In his introduction, Polti claims to be continuing the work of Carlo Gozzi, who also identified 36 situations. Publication history “Gozzi maintained that there can be but thirty-six tragic situations. This list was published in a book of the same name, which contains extended explanations and examples. The list is popularized as an aid for writers, but it is also used by dramatists, storytellers and many others. The 36 situations Each situation is stated, then followed by the necessary elements for each situation and a brief description. See also References External links
Every story you love can be retold with one of eight sentences You will know Kurt Vonnegut as a renowned author, but in addition to his books, he left behind a theory of stories that he’s less famous for, but that is still very interesting. He broke down stories that are told worldwide in all cultures into just a eight simple shapes. For example, shape #1, “The Man in Hole”… Somebody gets into trouble, gets out of it again…. People love that story! Every story that speaks to us on a deeply human level fits into one of his categories. A couple years ago, graphic designer Maya Eilam took Vonnegut’s story shapes and synthesized them into a simple infographic… (via Boing Boing) You can hear him explain the basic principle and discuss three classic story shapes here, if you want to. Think of your favorite book or movie… What shape is it?
Write Fiction that Grabs Readers from Page One In your novel, the inciting incident is the first sign of trouble for your protagonist: it’s the catalyst, the chemical reaction, that sets the plot into motion. But the inciting incident isn’t only important for your main character. Understanding how to harness it is also crucial to hooking your reader from the very first page and immediately investing them in the experiences, emotions, and personal struggles of the character. In this excerpt from Hooked: Write Fiction That Grabs Readers at Page One and Never Lets Them Go by Les Edgerton, you’ll discover that the inciting incident can be used as a trigger to focus the reader on the character’s journey and retain his or her interest throughout the rest of the novel. The Inciting Incident as a Trigger The inciting incident is the crucial event—the trouble—that sets the whole story in motion. Notice that this isn’t a point-by-point outline of a plot. The story begins with a bit of necessary setup, giving a scrap of family history.
The Thing About Sub-Plots Certain storytelling questions keep popping up. One of them, and a goodie, is this: does a sub-plot follow the same principles of linear structure as the main plotline? In other words, does the sub-plot also – like your main plotline – unfold over four contextually different parts, each separated by a succinctly defined milestone story-point? This can be tough to wrap one’s head around. Which is why this is considered art. Setting Up Your Sub-Plot Great stories give us deep and compelling heroes. The opening act of your story – Part 1 –exists for the purpose of introducing and defining that life as it exists prior to the arrival of the First Plot Point. Which, by the way, is only foreshadowed and set-up – and, at best, only partially defined – in Part 1. Then comes the First Plot Point, and it changes everything. Sometimes the First Plot Point defines a completely new life for your hero. How you string out your sub-plot, then, depends on which of those cases it is.
Breaking the Fourth Wall Major Monogram: Oh! Wow! What are the odds? Carl: Well, it is a cartoon, sir. Hey! open/close all folders Audio Play Opera In Sergei Prokofiev's Love For Three Oranges the action is frequently interrupted by a Greek Chorus (or rather, four or five separate Greek Choruses) of opera fans and stagehands. Professional Wrestling There was this gem from Hulk Hogan on a November 2010 episode of TNA ReAction: "Well, brother, we're lightening the load around here. Puppet Shows The Cashore Marionettes do this occasionally; one of the most significant instances is the skit "The Quest", in which a puppet scales his own puppeteer like a mountain, accompanied by triumphant music. Web Animation In episode 5 of Brawl of the Objects, Boat is attempting to speak French with Baguette using the dictionary he purchased in a previous episode.
10 tipos de bloqueo de escritor y cómo resolverlos Creative Writing For Dummies Cheat Sheet Rewriting and editing helps to tighten up your work. But it can be difficult – what to chop and when to stop may not be clear, and you may change your mind more than once during the process. Ask yourself whether you need to take out: Unnecessary information and explanation. Passages of dialogue that go on too long. Clunky descriptions that give too much detail. You may need to add or expand: Something you know but have forgotten to tell the reader; perhaps the age of the main character. You may need to move: Dramatic sections to make a stronger opening. In your final edit: Check for grammar, punctuation and spelling mistakes.