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What’s adaptation?
In these lectures I’ve argued that fiction, if well written, doesn’t betray history, but opens up its essential nature to inspection. When fiction is turned into theatre, or into a film or TV, the same applies: there is no necessary treason. Each way of telling, each medium for telling, draws a different potential from the original. Adaptation, done well, is not a secondary process, a set of grudging compromises - but an act of creation in itself.
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Why do we like black horse plots? p. 2
Us in a clear disadvantage. The Slumdog millionaire smeared in excrement. In a worse place than us. Yet us, some minute of our lives
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Why do we like black horse plots? p. 1
Ronald B. Tobias. 20 Master plots.
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Get ready to write fiction 2
Start with known stuff: anything that comes as known and takes part in the contents of our safe box of a skull is what you know and should write about.
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How to write fiction: understanding the basic mistakes (more mistakes)
WHO HAS NEVER DONE ANYTHING, HAS NEVER MADE MISTAKES. We are to make mistakes, even with the mistakes we shall not make if we're to get better at all.
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How to write fiction: understanding the basic mistakes
Wodehouse in A damsel in distress remounts how the modern reader has no time for the author to dissert about this and that and it is paramount to start as soon as possible. Which is kind of a beginning quite dissimilar to those he recommends since; we have learnt nothing about any character or conflict yet. Nonetheless, it is. It makes us wonder: what’s next? And such is the mineral vein or the gold nugget. To create anticipation is good to have people wanting to get wet and go get themselves in mud to screen the gold out.
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How to write fiction: imagenless guide
On the other side, how many times have we rejected a story we couldn’t deem ”believable”? As something THAT doesn’t work as real within its frame. A story is a game. A game inside which we believe what the author says.
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How to write fiction: imagenless guide
Summarising, we have two completely different things: reality and fiction. Which are, in fact, not as different as Hilary Mantel (historical novel writer) would say. After all, History is written by historians. And historians have their own likes and dislikes, interests and disinterests.
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The first manual in writing fiction that isn’t about writing fiction but about human myths: The hero with a thousand faces
It establishes a relationship myth (story) to the psychological need of the three most life passage ceremonies there are: birth, initiation to adulthood and dead. Which explains why Harry Potter is as popular. It is a hero that goes through all them (the last implies Voldemorth and his own death so he can be reborn into a normal human being again) thanks to parental love. This reality is taken into account in videogame design and other stories to get our empathy.
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How to write fiction creating 4 chasms between what’s wished for and the results
Our experience (reader) against what the writer can do to enrich such experience with something different to a cliché.