taleanea: Talea's default user icon. (music 3)
I want to do something like this: Game of Thrones cover by Lindsey Stirling & Peter Hollens — One Voice, One Violin, 140 tracks, 9 of them Lindseys stamping (percussions), if I remember correctly.

Oh, and like this one that has nearly 12 million hits by now: Skyrim by Peter Hollens & Lindsey Stirling.

OMG, I had forgotten, this is even more amazing than the first one. Totally my kind of music. (Not, what I usually do, but what I LOVE to hear.) This one has only 120 tracks, 114 of them of his voice. Isn't this increadible? What an enormous amount of time and effort has gone into this!

Well, I can not play violin and have no piano right now which I could play a bit.
I have voice, though, and I want to learn to make such increadible music.

It's a pity I don't have proper equipment yet, but I don't need that to learn. (I mean, a bad recording is still enough of a recording to learn with.)

Basically, the violin is like a female voice, a male voice is like bass or drums or the lower string instruments and flutes. They say, the human voice* is the most amazing instrument there is because it can change so much.
I wonder if I could find a male voice to help me to make recordings like the examples above. I really wonder. Wouldn't this be utterly awsome?

Or, without male voice, I'd definetely need a lot of stamping and such for percussions, to have something to balance my soprano. I've never been very good at singing low. Is this something I could learn, too? I do hit the notes, of course, but I'd have to become much louder in the low voices. Somehow. Hm. I guess for that I would at least need a better microphone than I have.

I'm not thinking about video recording anything, by the way. Lack of equipment, for one, and I only remember having done one professional video recording so far. Can't film myself, anyway.


And for anyone who can't feel yet that winter is coming, I'm telling you: It totally is. (But then again, you all knew that. 29 million hits since last winter! O_o *shakes head*)



* When I hear singers like those two, and husband and wife at that (!), I start thinking: 'Can I sing like that? I want to sing like that!' This song is really amazing and so beautifully sung by them. Amazing, amazing!
taleanea: Talea's default user icon. ((b&w&c) Kaffee - hmmmm!)
You know what, I totally mistook one formula for the other. Some days ago I mentioned this cool formula, linked to that cool podcast, and even though I listened to the podcast again, I didn't realise that I hadn't shown the Hollywood Formula they talked about but instead something else: the 7 point plot structure from this lecture by Dan Wells.
And no one calls me out on it. Le sigh.

But since I use both formulas together it doesn't really make a difference to me. Plotting so far has always been my great writing weakness, except in these very short short stories that I sometimes write. I learned these two plotting formulas so close together and they make so much sense that they are practically one (to me at least).

So the actual Hollywood Formula has also much to do with the main characters, not just with structure of a story. Also, it is more complex than but still quite similar to Holly Lisle's Sentence or Swain's plot line up.

Lisle Story Model (the Sentence):
- Character with a need
- against
- Antagonist with a need
- with a twist.

-> Protagonist with a need versus antagonist with a need in a setting... with a twist.

(Hero: Ugly feared Oger
with a need: who wants to be accepted loved to get his swamp back
against: from ruler
Antag with need: is sent by the ruler with an inferiority complex to rescue a beautiful Princess so ruler can marry her and become King,
Twist: but when he does, falls in love with her, pisses her off and fails to realize that she herself is an Oger.)


Swain's Plot Generator:
- Situation
- Character
- Objective

- Opponent
- Disaster

-> Character in Situation with an Objective against an Opponent leads into a Disaster.

(-> When ugly Oger tries to get his swamp back from ruler with inferiority complex, he has to free the princess the ruler wants to marry, falls in love with her and due to a misunderstanding gives her up to the ruler anyway.)


Hollywood Formula (as heard on the Writing Excuses podcast)

Characters:
- Protagonist with a concrete goal.
- Antagonist with a goal that is directly opposed to the protagonist's goal; he tries to activly stop the protagonist/hero. Antagonist must have consciousness.
- Relationship Character (that's new!) basically explains to the protagonist (and the reader) how he needs to change to solve the problem, and with that spells out the theme of the movie/story.

3 Act Structure:
ACT 1: introduces charas and their goals, ends with the fateful decision that starts the adventure. (In the 7 Point Structure it is the Hook up until Plot Turn 1.)

(Ugly Oger who pretends that he needs no friends finds himself burdened with a donkey and a formerly private swamp full of other fairy tale creatures and decides to get rid of them.)

ACT 2: longest, all characters try to achieve their goals, but at the end of ACT 2 the antagonist seems to win and the protagonist reaches an utter low point. (In the 7 Point Structure that would be Pinch 2, I think.)

(He totally falls in love with the princess that he had to rescue for the ruler to get his swamp back. And then he misunderstands something he overheard, rejects her and practically forces her to marry that ruler. Very mature, Shrek.)

ACT 3: (If the story is not a tragedy —) Hero fights their way back up, pulling everything together they learned during the whole plot, overcomes the Antagonist, and wins the whole battle, creating an emotionally satisfying ending.

(But his self-proclaimed friend, the donkey, forces him to admit that he does like to have friends, if only to find out what the princess actually said: that she does love him back! So he takes the dragon and the donkey, goes to the girl, has the ruler (who still wants to marry her, if not for love, but at least to become King in an effort to get rid of his smallness issues, and who now also tries to kill the ugly Oger) eaten by the dragon to be able to marry the princess — and as a weird reward for surviving this crazy story she becomes as ugly as he is, which both don't mind bc of TRUE LOVE. The End.)


Can you see why Hollywood Formula and this 7-point plot system were to me practically the same? They just build on each other.
Of course, the best part about the YouTube videos on the 7-point system was the explanation and visualisation on how to structure the subplots and story arcs in such a way that you still have an overview about what's going on and that they actually make the story stronger by knitting the different plot arcs together.
THAT actually was the best lesson on plotting I've ever learned.



Dan Wells: Story Structure [1] [2] [3] [4] [5]
taleanea: Talea's default user icon. (malen [01])
Recently I decided that I needed more practice in plotting before trying it with my current novel, so I took a movie of which I had disliked several main plot points and developed a new story that would correct everthing I had hated about the original one.

I went scene by scene to have a good length for it, and changed each one of them into scenes that I would enjoy, that went how the story should IMTHO have gone:

I built about 8 plot archs (one of them the main plot) with the Hollywood Formula and the 7 Point System, and put all the key plot points of the entire story into these formula points, and interlinked them to make them emotionally stronger.

Then I applied all of these ~8x7 important plot points to the 60+ scenes the original movie has, overlaid my new plot points with the original scenes and merged them nicely.
(If you could look closely you'd still recognise which movie I chose to rewrite replot, so if I were to write and publish my version I'd probably still have to change a few things like, you know, instead of it taking place in a desert I could instead let it play out underwater, instead of having computer obsessed geek friends my hero'd have horse obsessed, secretly dragon riding friends — unimportant stuff like that might make all the difference in copying other people's stuff.)

Once that was done and I had learned plotting I completely lost interest in that movie, or my newly created up-graded story. I wasn't a fan of that movie and so I'm not impressed with my own story outlines for it either.
Why would I? I cared about learning to plot and about finding out where the movie had failed for me: how it actually should have gone. - Mission accomplished, and now I have a completed novel outline laying around, doing absolutely nothing. (Maybe one day…)

Anyway. That was quite a while ago. By now I've forgotten how it worked, how I plotted that story, how I interlinked all the different story arcs, how I implemented the different plot points into the story — so of course now I'm doing it again with the story that I had actually wanted to write. Waste of time, much? … No. It did teach me stuff, and relearning is faster than learning something for the first time. Also, it had been fun.

So, I've been plotting.
2 plot arcs down, and - so far - 5 more to go. But I do know the whole story already; this is for zooming in, finding details, and for creating a stable, working structure for the story.

Next up: Plotting the scenes in such a way that I don't fall asleep when I think of them.

I get bored too easily because writing is so slooooow-motiony.
That's why my stories often read like roller-coster rides, because when I wrote them in slow motion I needed them to be as exciting as talealy possible to not get bored myself. Boredom makes me furios with the souce of it and then I refuse to touch that boring stuff ever again.

Except, of course, when the Muse kisses me, hmmmm, then I can write as boring as I want to and love the process & the resulting stories anyway.

Weird, I know. But, you know — kisses!




PS: Others' Check-Ins: Linky Links
PPS: On plotting: [1] [2]

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Talea Nea

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