Archived threads in /lit/ - Literature - 4225. page

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Just read. A bunch of faggots here will tell you to get books to hold your hand and they'll recommend Stephen Frye or some shit.
Just get an Anthology like the Norton or the Bloom and read a bunch from each era, then go from there.

>>7753002
Eh, Stephen's book is ok if you want to start practicing poetry. OP gave no indication he wants to practice, just read.

And in that case, yea, you might as well just read an casually look up different forms.

I found Poetic Designs by Stephen Adams very helpful when I was learning how to read poetry. The most important thing is learning meter and scansion. After that, knowing some schemes n tropes is good too, but all you really need to read is poetry.

Just read Petronius and get erectile dysfunction

How about some books that are like 8 1/2?

Sculpting in Time by Andrie Tarkovskii.

You'll get better answers if you ask /tg/, chum.

I love appendices, but only if they answer more questions than they raise.

>>7750907
That kind of stuff is usually only released separately as a supplementary thing for diehard fans of big franchises.

Go ahead and do it, I know Scott Bakker always includes a summary of the history and a Dramatis Personae at the end of each book.

>>7750382
it

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>>7750382

>>7750394

Hearty kek.

>>7740166
What is the best script ever written?

>Movies SHOW… and then TELL. A true movie is likely to be 60% to 80% comprehensible if the dialogue is in a foreign language.
>PROPS are the director’s key to the design of ‘incidental business’: unspoken suggestions for behavior that can prevent ‘Theatricality.’
>A character in isolation is hard to make dramatic. Drama usually involves CONFLICT. If the conflict is internal, then the dramatist needs to personify it through the clash with other individuals.
>Self pity in a character does not evoke sympathy.
>BEWARE OF SYMPATHY between characters. That is the END of drama.
>BEWARE OF FLASHBACKS, DREAM SEQUENCES and VISIONS. In narrative/dramatic material these tend to weaken the dramatic tension. They are more suited to ‘lyric’ material.
Student films come in three sizes: TOO LONG, MUCH TOO LONG and VERY MUCH TOO LONG.
>If it can be cut out, then CUT IT OUT. Everything non-essential that you can eliminate strengthens what’s left.
>Exposition is BORING unless it is in the context of some present dramatic tension or crisis. So start with an action that creates tension, then provide the exposition in terms of the present developments.
>The start of your story is usually the consequence of some BACKSTORY, i.e. the impetus for progression in your narrative is likely to be rooted in previous events – often rehearsals of what will happen in your plot.
>Coincidence may mean exposition is in the wrong place, i.e. if you establish the too-convenient circumstances before they become dramatically necessary, then we feel no sense of coincidence. Use coincidence to get characters into trouble, not out of trouble.
>PASSIVITY is a capital crime in drama.
>A character who is dramatically interesting is intelligent enough to THINK AHEAD. He or she has not only thought out present intentions, but has foreseen reactions and possible obstacles. Intelligent characters anticipate and have counter moves prepared.
>NARRATIVE DRIVE: the end of a scene should include a clear pointer as to what the next scene is going to be.
>Ambiguity does not mean lack of clarity. Ambiguity may be intriguing when it consists of alternative meanings, each of them clear.

>>7740216
>‘Comedy is hard’ (last words of Edmund Kean). Comedy plays best in the mastershot. Comic structure is simply dramatic structure but MORE SO: neater, shorter, faster. Don’t attempt comedy until you are really expert in structuring dramatic material.
>The role of the ANTAGONIST may have more to do with the structure of the plot than the character of the PROTAGONIST. When you are stuck for a third act, think through your situations from the point of view of whichever characters OPPOSE the protagonist’s will.
>If you’ve got a Beginning, but you don’t yet have an end, then you’re mistaken. You don’t have the right Beginning.
>In movies, what is SAID may make little impression – unless it comes as a comment or explanation of what we have seen happening.
>What is happening NOW is apt to be less dramatically interesting than what may or may not HAPPEN NEXT.
>What happens just before the END of your story defines the CENTRAL THEME, the SPINE of the plot, the POINT OF VIEW and the best POINT OF ATTACK.
>Make sure you’re chosen the correct point of attack. Common flaw: tension begins to grip too late. Perhaps the story has to start at a later point and earlier action should be ‘fed in’ during later sequences.
>What happens at the end may often be both a surprise to the audience and the author, and at the same time, in retrospect, absolutely inevitable.
>Character progression: when you’ve thought out what kind of character your protagonist will be at the end, start him or her as the opposite kind of person at the Beginning, e.g. Oedipus who starts out arrogant and ends up humiliated, Hamlet who is indecisive at the start and ends up heroic.
>Most stories with a strong plot are built on the tension of CAUSE AND EFFECT. Each incident is like a domino that topples forward to collide with the next in a sequence which holds the audience in a grip of anticipation. ‘So, what happens next?’ Each scene presents a small crisis that as it is revolved produces a new uncertainty.
>DRAMA IS EXPECTATION MINGLED WITH UNCERTAINTY.
>A SHOOTING SCRIPT IS NOT A SCREENPLAY. The beginning screenwriter should be discouraged from trying to invent stories in screenplay format.
>A FOIL CHARACTER is a figure invented to ask the questions to which the audience wants answers (asking the question may be more important than getting the answer.)
>NEGATIVE ACTION (something not happening) needs to be dramatised in positive action terms. You show something starting to happen which then is stopped.
>TWO ELEMENTS OF SUSPENSE ARE HALF AS SUSPENSEFUL AS ONE. Aristotle’s principle of unity means that one dramatic tension should dominate. All others are subordinate to it.
>CONFRONTATION SCENE is the obligatory scene that the audience feels it has been promised and the absence of which may reasonably be disappointing.
>What you leave out is as important as what you leave in.
>Screenplays are STRUCTURE, STRUCTURE, STRUCTURE.

>>7753949
Phenomenology of Spirit

>>7753949
have you seen Eden Lake, or High Tension yet? if not, you should. anyway, get some therapy.

>>7753953
how inaccessible is this
>>7753956
ive heard of both but seen none since i actively dislike 99% of the horror genre. i dont like these topics being treated like a clown that you can exploit for satisfaction. theyre also very detached from reality in purpose because theyre meant to entertaint, and i want something grounded with some sort of lecture intended

Make a countdown :)

works every time! like a charm

add desert eagles

Its all about context, buildup and foreshadowing, study the movies with lots of tension for examples

Tbrh you wont find too much good advice here, because most people on /lit/ cant write a decent plot to save their lives. They compensate with prose wankery and pretend theyre too good for it.

>>7753713
Me.

Pound

Woolf, probably.

I'm going by X > Y, here.

i would, but it transcends the meaning/unmeaning dichotomy.

>>7753682
Fuck that.

Just feel it

>>7753473
Here is the general way i live
>I speak to those i am required to speak to
>I am friendly to an extent
>I don't get close to other people, it's not my style
>The only person i talk to properly is my girlfriend
>Other than her, i find it fairly easy to live a life of solitude, i just need her and no one else really
I never got the 'Part of a community' sort of thing, i never really liked being part of something like that, solitude has always suited me better
As for fame, i'd hate it. Power? I just have no interest.

Tl;dr i don't want to be rich and famous i just want to be /comfy/ with my girlfriend and i am

>>7753491
>Tl;dr i don't want to be rich and famous i just want to be /comfy/ with my girlfriend and i am

How adorable anon, I hope things don't end as badly for you as they do for most young-adults who derive a great amount of satisfaction from their loved ones.

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>>7753473
you lay your troll in /lit/ too ?
>>>/sci/7893852

You read the information leaflet that says something like "University clubs & societies", then choose a few, and join them

the unconsoled by ishiguro

I read a lot of Murakami when I was a lonely freshman in college. Lots of relatable alienation.

https://en.wikipedia.org/wiki/Ball_(foot)

Balls of your feet

ball of your feet is a rough approximation

No you stupid fuck you don't learn a photographic memory.
Go study Tai Lopez.

>>7752842
>tai lopez
Honestly I want to hate the guy but he has more money than I do so maybe his ideas are worth more than mine?

>>7752851
It's not that Tai Lopez is rich because he's good at reading; it's that he's rich because he's tricked people into thinking he's good at reading.

>>7752583
>Wittgenstein rekt Stirner

this never actually happened though

Wittgenstein was indebted as fuck to Kierkegaard and if anything I'd say Kierkegaard is two steps ahead of Stirner (those steps being the ethical and the religious) and any rebuttal you see in Witty is prefigured already in K.

Question: why do people tend to put Wittgenstein and Heiddeger together as two sides (analytical and continental) of the same coin?

At 35 you're ready

Collected Poems by Wallace Stevens
Collected Poems by Robert Frost
Later Poetry of Yeats
Collected Poems of Whitman
Collected Poems of ee cummings