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What is most important to you in a story?
48 votes
Macro drama: Nations battling nations, heroes rising and falling to the ebb and tide of history.
Micro drama: Individual characters dealing with their respective trials and tribulations as events beyond or far from their control carry on.
Characterization: Exploring how characters evolve as the events of the story unfold.
Comedy: Because everyone needs to laugh and smile sometime!
Believability: If you don't like to suspend your disbelief. You want a story that could actually happen in the real world or at least be *close* to it.
Fantasticality: For those who wish to leave their world behind! The stranger and more alien, the better.
Suspense: Not knowing what's going to happen next, keeping you watching or turning the page, concerned for the events unfolding.
Action: You don't like the drawn-out talkie scenes. You like seeing the hero kick ass and take names!
Other: (Specify)
Deviation Actions
How, in your opinion, should the topic of sexual assaul...
| 41 votes
- All the detail, all the emotional torment, in order to make a heavy impact and make the gravity of the situation ingrained in the reader.
- Keep it classy. When using it in a story, keep the focus less on the act and more on the aftermath. Avoid showing the act if at all possible.
- If it is involved, don't focus on the aftermath. It's only needed to shock the audience and demonstrate the character is vulnerable.
- Rape scenes should be heard, not seen. Keep it entirely past-tense and don't bring it up often since victims of it don't tend to talk about it after the fact.
- We've got enough rape and sexual assault in the real world. We don't need it in our stories.
- Other. (Comments!)
Hypothetically speaking, if Aries had a catch phrase, w...
| 19 votes
- "It's time..."
- "Save a good spot for me in Hell..."
- "You'll never steal another life again."
- "Your end has come."
- "Hellfire take you!"
- -Other, comment!-
A few more pages and Lone Candle Chapter 2 will begin! ...
| 10 votes
- Aries Passadar commands a blockade in an event similar to the Cuban Missile Crisis...
- Aries Passadar begins to seek out trainers and masters to hone her skills...
- Aries Passadar is attacked by cannibals and finds her first partner...
- Aries Passadar meets Vinnie, the Loretech A.I. and after saving him, hooks him up to her new truck...
- Aries Passadar acquires her signature weapons, Dragonlash and Witchfire...
- Aries Passadar kills her first warlord...
- Aries Passadar has a chat with a Mormon Child!
- Oh shit! It's Aries Passadar!
- Q... is for Aries Passadar!
Comments13
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All fiction, as I see it, can be akin to a work of engineering. Most or all parts should be working in perfect conjunction with the other so the (insert metaphorical device here) may run at peak efficiency, so that they may succeed in their function, whatever that might be (after all, different genres, different tones, imply different end-goals).
Therefore, from where I sit, in a work of fiction - video game, TV show, film, animation, literature, etc - it's not a single element that carries the most important load, per se. A single element might have the most impact, certainly, but the product truly shines when every little thing (character, pacing, world building, personal drama, etc) is working perfectly with one another. These parts, these elements, they inform the other, they compliment.
Here's a good example of what I mean.
Say you're working on a film, and you're the sound editor. The director has called for an appropriate sound to suit a tragic scene. What do you do to convey that tragedy? Depending on execution and context, if you have the orchestra blaring at full volume, it might... twist the scene into a farce. So what about something subtler?
Or how about an absence of sound entirely? Either way, this lends itself to the audio-visual language of the film and this one particular scene.
Of course, imagine how silly it would be if you, say, decided to employ "And My Heart Will Go On" to highlight a tragedy. Who in their right minds would take that scene seriously?
You see? All parts must work in perfect synchronicity. This changes medium to medium, of course. Film requires expertise in sound and visuals for, shall we say, "sensory language" that runs parallel to the script. Without that expertise, the script is not a film but a novel without a cover.
Literature, on the other hand, requires no such high-end technical maintenance, so all the stress is heaped upon the execution of tropes and content to make a story work. Which, naturally, is easier said than done. It's noble to say, "Why, characterization should take the highest priority," but that doesn't mean the story will be any good. Good characters alone do not make a good story. Good characters are informed and evolved by the environment they inhabit, and without the means to convey either what's the point of even paying the slightest bit of attention to details like structuralism?
Just my take on things.
Here's a good example of what I mean.
Say you're working on a film, and you're the sound editor. The director has called for an appropriate sound to suit a tragic scene. What do you do to convey that tragedy? Depending on execution and context, if you have the orchestra blaring at full volume, it might... twist the scene into a farce. So what about something subtler?
Or how about an absence of sound entirely? Either way, this lends itself to the audio-visual language of the film and this one particular scene.
Of course, imagine how silly it would be if you, say, decided to employ "And My Heart Will Go On" to highlight a tragedy. Who in their right minds would take that scene seriously?
You see? All parts must work in perfect synchronicity. This changes medium to medium, of course. Film requires expertise in sound and visuals for, shall we say, "sensory language" that runs parallel to the script. Without that expertise, the script is not a film but a novel without a cover.
Literature, on the other hand, requires no such high-end technical maintenance, so all the stress is heaped upon the execution of tropes and content to make a story work. Which, naturally, is easier said than done. It's noble to say, "Why, characterization should take the highest priority," but that doesn't mean the story will be any good. Good characters alone do not make a good story. Good characters are informed and evolved by the environment they inhabit, and without the means to convey either what's the point of even paying the slightest bit of attention to details like structuralism?
Just my take on things.