Tag Archive for ‘dramatic structure’
Applies to around 95 % of popular books, movies, tv-shows, or video games. Add meta bonus for rationalizations in literature vs. genre / highbrow vs. lowbrow manifestos.
I just love everything meta-.
“You can’t connect the dots looking forward, you can only connect them looking backwards.”
“The gleaming synthetic permapolish leather holster held a proton blaster. Bat Durston pulled out the deadly weapon and thumbed the power pack release.”
Is that a Cartesian Theater which I see before me? What Strawson’s self-observation lacks in methodology, it makes up for with psychological entitlement.
I started to try and sketch Inception’s dramatic structure (in words, not in pictures), and this greatly helps: Co.Design’s Inception Infographic Contest!
If that’s all the witnesses and the testimony you can muster in your favor, you might as well try and get to Mexico while you still have time.
You’d think when Strawson takes on the psychological Narrativity thesis and lets loose with both barrels, he’d load his gun with something substantial.
According to Strawson, life is experienced in a “diachronic” or “episodic” kind of way: the former is compatible with psychological narrativity, the latter not.
Dramatic conflict in science fiction connects to advanced aspects of a future society. With our accelerating technological progress, this is becoming difficult.
Travesty is a powerful form of storytelling not despite, but because we know what’s going to happen. We’re already on the lookout for what’s different.
Flashbacks are a powerful storytelling device, especially when used for missed turns and missed junctions-as-junctures.
Diegesis is a technical term literature can do without. Mimesis too, but we should keep that one simmering on the back of the stove for historical reasons.
While there certainly are differences between a tale and a story, they’re not necessarily what James Hull makes them out to be.
Two foreboding techniques tested in (pen & paper) roleplaying storytelling that were supposed to raise suspense and broaden the picture, but failed miserably.
To raise suspense early on before readers can identify with the characters, some use foreboding techniques in form of digressions. This has some drawbacks.
The exposition of Stephen King’s It is a great example how to switch from summarizing to real-time action and back again to create suspense by superior pacing.
Writers never show, they tell—but often fall for the cinematography metaphor of fiction writing. Good pacing consists of both narration and summarization.