Where the Writers Go to Write - Writing.Com Monomyth Joseph Campbell's monomyth, or the hero's journey, is a basic pattern that its proponents argue is found in many narratives from around the world. This widely distributed pattern was described by Campbell in The Hero with a Thousand Faces (1949). Campbell, an enthusiast of novelist James Joyce, borrowed the term monomyth from Joyce's Finnegans Wake. Campbell held that numerous myths from disparate times and regions share fundamental structures and stages, which he summarized in The Hero with a Thousand Faces: A hero ventures forth from the world of common day into a region of supernatural wonder: fabulous forces are there encountered and a decisive victory is won: the hero comes back from this mysterious adventure with the power to bestow boons on his fellow man. A chart outlining the Hero's Journey. Summary In a monomyth, the hero begins in the ordinary world, and receives a call to enter an unknown world of strange powers and events. The 17 Stages of the Monomyth
30 Incorrectly Used Words That Can Make You Look Bad While I like to think I know a little about business writing, I often fall into a few word traps. For example, "who" and "whom." I rarely use "whom" when I should. Even when spell check suggests "whom," I think it sounds pretentious. So I don't use it. And I'm sure some people then think, "What a bozo." And that's a problem, because just like that one misspelled word that gets a resumé tossed into the "nope" pile, using one wrong word can negatively impact your entire message. Fair or unfair, it happens. So let's make sure it doesn't: Adverse and averse Adverse means harmful or unfavorable; "Adverse market conditions caused the IPO to be poorly subscribed." But you can feel free to have an aversion to adverse conditions. Affect and effect Verbs first. As for nouns, effect is almost always correct; "Once he was fired he was given twenty minutes to gather his personal effects." Compliment and complement Compliment is to say something nice. For which I may decide to compliment you. (Seriously.
hero's journey "A Practical Guide to Joseph Cambell’s The Hero with a Thousand Faces" by Christopher Vogler © 1985 “There are only two or three human stories, and they go on repeating themselves as fiercely as if they had never happened before.” In the long run, one of the most influential books of the 20th century may turn out to be Joseph Campbell’s THE HERO WITH A THOUSAND FACES. The book and the ideas in it are having a major impact on writing and story-telling, but above all on movie-making. Filmmakers like John Boorman, George Miller, Steven Spielberg, George Lucas, and Francis Coppola owe their successes in part to the ageless patterns that Joseph Campbell identifies in the book. The ideas Campbell presents in this and other books are an excellent set of analytical tools. With them you can almost always determine what’s wrong with a story that’s floundering; and you can find a better solution almost any story problem by examining the pattern laid out in the book. There’s nothing new in the book.
Cumberland River Review Scénario-Buzz | L'écriture entre les lignes 60 Historical Photos Worth 1000 Words posted by Katharine J. Tobal The American newspaper editor Arthur Brisbane said that “a picture is worth a thousand words” in 1911. Over 100 years later, this still rings true. Each photograph tells a story, a special event or moment, and helps us witness the past. 1. 2. 3. 106-year-old Armenian Woman Guards Her Home, 1990 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. 42. 43. 44. 45. 46. 47. 48. 49. 50. 51. 52. 53. 54. 55.Nagasaki, 20 Minutes after the Atomic Bombing in 1945 56. 57. 58. 59. 60. About Author Katharine J. I'm Syrian activist, reporter, photographer, and graphic designer.
Three-act structure Three- act structure Plot Line Graph by Wendell Wellman The three-act structure is a model used in writing, including screenwriting, and in evaluating modern storytelling that divides a fictional narrative into three parts, often called the Setup, the Confrontation and the Resolution. Structure The second act, also referred to as "rising action", typically depicts the protagonist's attempt to resolve the problem initiated by the first turning point, only to find him- or herself in ever worsening situations. Interpretations In Writing Drama, French writer and director Yves Lavandier shows a slightly different approach. He maintains that every human action, whether fictitious or real, contains three logical parts: before the action, during the action, and after the action. SJ Murray, a documentary film maker, feature film writer, and professor at Baylor University, explores why the three act structure matters in her book, Three Act What? See also References
How to Start a Novel Time to confess: I’m a closet novelist. For the last six years, I’ve been sitting on a great plot, but I find the idea of writing a novel daunting. A few days ago, my best friend said to me, “You should write your novel this year. You know, the one where the young woman is in a bus in Rio de Janeiro, and she suddenly hears…” “You remember the story? “Of course I remember! I’m still uncertain whether to start writing the novel or not. What about you? Are you a closet novelist? Maybe you have great ideas but you wonder how to start. To make things easier, I asked five experts how to start a novel. 1. The first step I take after being struck with an idea for a novel will seem like a non-step, but it’s critical—just as important as the second step, which is research, research, research. The first step doesn’t involve any books or paper or pencils. It doesn’t require speaking with another living soul, either. I consider: Does the idea have the legs required to last the length of a novel? 2. Why? By C.
Comment présenter son projet: le synopsis et la note d’intention Un scénariste qui s’attaque à un projet de sa seule initiative prend le risque considérable que son scénario finisse son existence sur une étagère. Convaincre un producteur d’investir sur son script est une démarche longue et frustrante, et, pour qu’elle ait une chance d’aboutir, l’auteur doit mettre toutes les chances de son côté. La première étape consiste à préparer le dossier qui accompagnera, présentera, mettra en valeur le scénario, et souvent même, le remplacera dans le processus de négociation. Après des mois de recherches, de documentation, de réflexion et de préparation, le scénariste peut enfin se lancer dans la phase d’écriture. C’est une pièce maîtresse du dossier car, dans la plupart des cas, elle remplacera le scénario. LE SYNOPSIS est un court texte (une ou deux pages pour un court-métrage, entre cinq et dix pour un long métrage) qui résume l’intrigue du film, le déroulement de l’histoire. C’est l’autre grande alliée du scénario. _dénigrer les films du même genre
102 Resources for Fiction Writing « Here to Create UPDATE 1/10: Dead links removed, new links added, as well as Revision and Tools and Software sections. Are you still stuck for ideas for National Novel Writing Month? Or are you working on a novel at a more leisurely pace? Here are 102 resources on Character, Point of View, Dialogue, Plot, Conflict, Structure, Outlining, Setting, and World Building, plus some links to generate Ideas and Inspiration. Also, I recommend some resources for Revision and some online Tools and Software. Too many links? 10 Days of Character Building Name Generators Name Playground The Universal Mary Sue Litmus Test Priming the idea pump (A character checklist shamlessly lifted from acting) How to Create a Character Seven Common Character Types Handling a Cast of Thousands – Part I: Getting to Know Your Characters It’s Not What They Say . . . Establishing the Right Point of View: How to Avoid “Stepping Out of Character” How to Start Writing in the Third Person Web Resources for Developing Characters Speaking of Dialogue