One thing I find helpful in all my creative work is to consider ways of approaching material through mediums that I wouldn't normally associate with that approach--or use myself.
With that in mind, I thought I'd share Every Frame a Painting's "The Poetry of Details,", a short video essay about what "poesy" might mean or look like when applied to the medium of film.
By looking at how poesy can be found in an audio/visual medium rather than the traditional written forms, I force myself to re-think the ways I'm going to use poesy in my writing and improvisation: it widens my brain to encompass more ideas about what poesy is capable of being, or what is capable of being poetic.
In that video essay, Tony has defined poetry in one woman's films as, roughly, implication through detail and association: focusing on a small physical detail to imply an emotional state or a larger event, and using repetition or parallelism to imply connections. The way a single element is presented tells the audience more than the detail itself.
We can see that in more "traditional" poetry: for example the final line of "Stopping by Woods on a Snowy Evening" gains a completely different significance and meaning simply because it's repeated twice.
Now I'm thinking about repetition and parallelism in my poster designs as being capable of more than just pleasing patterns, but of reinforcing or redefining ideas.
Almost all of the posters start with listening to the production team and trying to get a bead on what that particular production will be like, and then I do sketches and brainstorming for designs that will capture something of the production.
The Tempest uses textures from the costumes, and the character outlines are taken from photographs of the actors.
There have been other plays since which I'd like to do landscape, but practically speaking the Tempest poster was a disaster: whoever put the posters up secured them in the middle rather than the edges, and the long sides curled up in the humidity so you couldn't see the poster at all.
Similarly after No Exit I'm not doing solid blacks again because the printer they used couldn't make the blacks without streaking.
Unfortunately I was stuck thinking of the figure as silhouetted in a door lit from behind (that's the stage direction) and didn't get out of that rut until later.
I'm moderately happy with all of the posters, but you can see that as I got more comfortable with the medium I'm generally moving toward simpler, less busy compositions. (As the director's desires allow.)
The production team meets once a week. First week I listen to the meeting and do sketches which I share at the end and gauge their reactions. Second week I bring one or two mock-up drafts based on the first week. Third week I try to have something finalised because even if I've got a fourth week I know they'll want changes.
Also I kinda hit a natural stopping point in the narrative.
Somehow I wound up with a very different voice than I usually write in.
> He stood up, wiped the snot from his face with a leaf. He drew the blade and held it aloft as he'd seen his father do. It gleamed. Then he sheathed it again, because only a fool would run with a bare blade and Llyan had a lot more running to do.
The jungle shivered as the Lord of the Stormcats led himself to battle.
(I'm writing into various off-camera scenes and characters from my RPG campaign, to try and get into the world and the characterisations better; this one is based on a friend's request to do a Thundercats homage. The scene was "Llyan runs from a fight, and then runs back.")
I'm just curious, what's a good estimate for how many novels have ever been written/published? I tried googling it and inquired on wolfram|alpha, with no results.
It boils down to the principle that connective tissue should consist of "therefore," "but," and "meanwhile, back at the ranch," never "and then."
I have certainly noticed that my best horror gaming experiences happen when the investigators split up and I bounce from one separated group to another at the moment of greatest tension.
Seems like it can be harder to juggle that in a novel; many novels with "meanwhile" structures fall apart for me because I'm just not interested in one of the scenes/groups/plots. Harry Turtledove and Robert Jordan are egregious examples.
(In role-playing it's easier to create and maintain audience interest because the audience is the main character. So long as the spotlight stays on the players' choices, they're involved.)
I'm Zizouz212 and I'm trying to gain some data and insight into a few things about the growth of various beta sites. I've seen a few meta posts, especially on Meta SE about beta sites, and things that concern them as well about their development.
I've had a few theories, but I'm hoping to see wh...
Our main story is an homage to all the contemporary speculative fiction where Weird Stuff lurks in the corners of the modern world--Hellboy, X-Files, Warehouse 13, Buffy, etc.
And right now our heroes are encountering an inside-out world drifting through space, the interior of which is an homage to Thundercats, He-Man, and similar laser-fantasy 80s genre pieces.
Right now they're all in the Weird Stuff group, as members of an ancient cult dedicated to keeping the world safe by "Using Weird Stuff so Weird Stuff doesn't use you!"
I'm just curious, what's a good estimate for how many novels have ever been written/published? I tried googling it and inquired on wolfram|alpha, with no results.
The Overlook Hotel
The Overlook Hotel