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I have never seen someone capture human emotions like quite like Beth Cavener Stichter. She manages to show expressions such as vulnerability and lust using animal bodies positioned strategically to emote like people… like a boss!
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氣勢磅礡的 全景 、富戲劇性的 中景 、精细入微的 特寫 ……一部電影該在什麼時機，什麼樣的因素？來選擇合適的 鏡頭語言 ，呈現給觀眾呢？如果描述的技巧不當，會讓觀眾...
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Separation Identity Relationship
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This quick clip from NPR anchor Scott Simon is full of great story material.
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"25 things about Theme by Chuck Wendig"
1. Every Story is an Argument 2. The Elements of Story support that Argument 3. Unearthed or Engineered 4. Theme: A Lens that levels the Laser 5. Do I really need this happy Horseshit? 6. Slippery Business 7. For Instance: You can get it wrong 8. Mmm, Speaking of Cake 9. Grand Unification Theory 10. Put Down that Baseball Bat, Pick up that Phial of Poison 11. No Good if Nobody Knows it 12. Triangulating Theme 13. As much an Obsession as a Decision 14. Theme is not Motif 15. Mmm, Speaking og Cake, I mean, Motif 16. Them is not a Logline 17. Piranhasaur versus Mechatarantula 18. Take that Question Mark and Shove it up your Boothole 19. It is the Question, however, that Drives us 20. Of Turtleheads and Passing Comets 21. Do your Due Diligence 22. Your Audience misht not give a shit (but it's okay) 23. Not just for Literary Noses held high in the air 24. A Weapin in your word warrior Arsenal 25. For fuck's sake, say something
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• A story concept creates the story’s set-up.
• A story concept almost always implies, then defines the story’s end point.
• A story concept generates key characters, most notably the Protagonist.
• A story concept can provide the spine of the story’s Plotline (structural plot).
• A story concept can suggest the heart of the story’s Themeline (emotional plot).
• A story concept determines the story’s genre.
• A story concept helps to shape the story’s tone.
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As writers, we go into the stories we create. I offer this blog as a resource to those interested in screenwriting and the magic of movies, characters, plot, theme, dialogue, and subtext.
Born of Hurricane Katrina and the passing of a dear friend, The Fantastic Flying Books of Mr. Morris Lessmore is more than a poignant, interactive allegory, it is the budding metamorphosis of the narrative. In the interactive piece of fiction, readers flip through digital pages on their iPad, poke pictures into life, paint grey skies blue, shift the winds of change with their fingers, all while sinking deeper into the fiction of the simple story.
Via Gregg Morris
Conflict is critical to any good story. In fact, it makes your story worth reading and is the key component that weaves all the elements of your novel together. The secret to CONFLICT is found when tension builds between two opposing forces then explodes. To translate that to your characters, conflict rests within the moral choices they make when placed in unusual situations.
Via mooderino
Creativity isn’t just for writers. Thinking outside of the box is essential for every modern professional, whether you build cars, computers, or brand reputations. Without creativity, there would be no innovation, no social change, no entrepreneurial spirit driving our economy.
Via mooderino
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As writers, we go into the stories we create. I offer this blog as a resource to those interested in screenwriting and the magic of movies, characters, plot, theme, dialogue, and subtext.
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面對龐大的競爭局勢，我們都知道傳統的履歷已經不符合時下的需求，於是乎從基本格式的填空到發展獨具個人特色的履歷，甚至到影音及互動的方式呈現都是目前趨勢… 身為設計師的你，肯定要獨具心匠地設計出讓人眼睛為之一亮的漂亮履歷！如何在One page的一眼瞬間捉住對方注意，勾起繼續認識你的味蕾！？絕對不能錯過今天的分享，來自世界各地的設計師的超棒履歷設計！你將發現，這可不像是design一張普通DM般簡單，要融入個人style同時納入infographics，考驗的是圖像資訊整合再造的能力，以及硬底子的字體、排版、配色等基礎功，再添加專屬你的創意因子，才能造就出與眾不同的履歷！...
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As writers, we go into the stories we create. I offer this blog as a resource to those interested in screenwriting and the magic of movies, characters, plot, theme, dialogue, and subtext.
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His hero didn't make any decisions.He never took up the quest. Time after time different characters offered a greater purpose, a mission, a project bigger than himself, but he rejected them all. He was content to stay there, accepting the status quo. He was unwilling to make decision.So instead we wait for hundreds of pages while the hero rejects one meaningful story after another. At the end of the day, a story, like a life, doesn't have to be perfect. You just have to choose something.
Via mooderino
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What is episodic writing? How does it hurt your chances of publication? Find out how to avoid a lack of forward 'thrust' in your story and increase your chances of a YES from the editor.
Three of the most popular writers on story structure will come together this November 3-6 in Houston, Texas, for an intensive three-and-a-half day workshop called “Story Masters”. As a preview, we asked them the following questions.
Via mooderino
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"An old song lyric goes, “It ain’t what you do, it’s the way that you do it.” Craft is about how well you execute a concept. If you want to avoid a cliché first ask honestly why the cliché exists – there may be a good story reason to have it. But then what you do is find a way to get away from the trappings of the cliché."
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Christopher Vogler's book provides a universally applicable way of thinking about story without trapping the author into calling it the only way of thinking.
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In “Forrest Gump,” we get to experience his weird life that somehow places him in various historical moments without him realizing it. In “Die Hard,” we learn about the terrorists and their goals at the same time as the hero does. By letting us experience the emotion at the same time as the hero, we feel emotionally linked to the hero. By not letting us experience the emotions that have shaped the hero, we feel less involved.
In “WALL-E,” we see the loneliness of WALL-E on the dead Earth, so the arrival of Eve on a rocket ship is as much a shock to us as it is to WALL-E. Now imagine if we had flashbacks of WALL-E seeing similar rocket ship arriving and exploring the Earth. Then the arrival of Eve wouldn’t be a shock but feel like something old and familiar, which distances the emotional bond between the audience and the hero.
Tip 1: Make sure that the reader knows as early as possible who the viewpoint character is in any scene. Do this by tapping into thoughts or emotions that can only be known by the viewpoint character. Tip 2: Decide on and mention names early in the story. Carefully chosen names help the reader get a rounded picture of your character. (It also helps to stimulate the writer's imagination.) Tip 3: Give an early "thumbnail sketch" of your character. While it is boring for the reader to suffer through a lengthy description of any character, don't make the mistake of being too sparing with your description. Give the reader enough to form a picture of your character - 'first impression' in looks and personality. Tip 4: Ask: "Whose story is it?" If one of your secondary characters appeals to you more, and is 'taking over the story', you might have chosen the wrong protagonist. Whose story do you most want to tell? Whose story is likely to engage the reader more? Tip 5: Use character tags (hair colour or style, annoying habits, distinctive voice etc) to help readers keep characters straight - especially if you have a lot of characters in your novel. Tip 6: Don't reveal everything about your character in the beginning. Leave room for the character to grow; for the reader to become curious, and for you to get to know him/her. Tip 7: Know each character's motivation for action. If the reasons for your character's actions and thoughts are not clear to you, the writer, then you will probably find your character doing or saying things that are unbelievable. Motivation is all important! Character motivation comes from two sources: from the inner nature of the person, and from external events that move that person towards making certain decisions. Tip 8: Characters who have inner conflict are more interesting than more static characters. This does not mean you can have them act out of character "because they're conflicted". Their inner conflict IS part of their character. They can be pulled two ways... but the reader should be able to understand the reasons for both impulses.
Via mooderino
1-No Stealing. Never use a phrase or metaphor that you've seen or heard somewhere before. That keeps you from being genuine. Get at the heart of the metaphor and put it in a way that's truthful to you. Get specific. Details, details details, and ones from YOU and not anyone else. 2-Be Careful with "Dead" Words. Cliche goes beyond phrases and metaphors. There are single words that are used so often that they lose any real meaning. Words like smile, sigh, tear, laugh, beautiful. In fact, making a list is a good idea. These words aren't necessarily forbidden, they should just be used cautiously, and put in a context that will give back some real meaning to the word. What other "dead" words can you think of? 3-Be Observant. To really describe a faucet dripping, watch one drip. Other writers have their own way of describing a thing, but figure out your own way. See and smell and touch and hear for yourself, and pay attention. Then you have real life experience, and an understanding beyond the words someone else used to describe something.
Via mooderino
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103 Most Beautiful Words? You Decide | Jacqui Murray's WordDreams…
"There’s a list of beautiful words going around the internet–the 100 most beautiful words, or so they claim. I love words. I’ve written
103 Most Beautiful Words? (image created in Wordle)
several posts about words in general and this one about the beauty of words. I’m always interested in adding to my list. Here’s their list:"
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