Characters narrative

This manuscript was first discussed by Carbonelli, but he did not provide a detailed analysis of its style and contents and it has received little attention since.The text is composed of aphorisms of famous alchemists who include Hermes Trismegistus, Aristode, Geber, Amald of Villanova, Senior and characters from the Turba Phibsophorum, such as Rasis. They give instructions about the secrets of the process and the text is supported by visual imagery, arranged in a narrative... 

Does Angelou use enough vivid details to make her narrative seem believable and her characters realistic Cite two or three examples of descriptive language that you think are particularly effective. 

It happens that the two structures that have proved most useful in shaping material for a short screenplay are those considered by scholars to be the very oldest of narrative forms the journey, and what we call the ritual occasion. If you have a main character clearly in mind, and a good idea of what that character s situation is and of what it is that he or she is after, you can often get a script off to a good start simply by choosing one or the other of these as a structure for your story line and seeing where it takes you. 

In long narrative films, there is time to develop plot as well as subplots, but in most short narratives, there is time only for a fairly simple story line, however complete the characters or experimental the approach. In order to care about what happens to the main character, we need to be engaged as early as possible. We need to see that character in the midst of life, however briefly, before the catalyst occurs, introducing or stimulating the main dramatic action. 

Consider the character in the story who appeals to you, the one with whom you can most readily identify. In writing narrative of any kind—except farce or parody, where one doesn t necessarily have to identify with the main character or characters—identification is really more important than whether you approve of the character. One often identifies with characters or finds them appealing even if one doesn t approve of them (Richard III, for example). When you have decided, take that character as your protagonist. Now think about whether you would like the script to take place in the present, at some period in history that particularly interests you, or in the mythical time in which it was originally set. If you can t decide at the moment, choose the last option, at least for your first rough draft. 

The choice between realism and fantasy will help the storyteller determine how to employ the other storytelling elements devices such as surprises and twists and turns of plot are even more important in fantasy. The narrative devices are the writer s tools. In choosing a realist approach, the author opts for character devices in fantasy, he or she opts for plot-oriented devices. Realistic story forms, such as melodrama, rely on identification with the character. They succeed or fail depending on the effectiveness of that identification. Fantasy is usually effective around a "moral" or a fantastic journey. In fantasy, plot is more crucial than identification with the character. 

Jokes or anecdotes can readily be the source of a short film, since they have a character, a narrative, and a climax. The writer need only add another character or two and provide a resolution, so that the audience will not be left in... 

Not only does this particular joke have a simple narrative, a conflict, and a main character, but it also has interesting opportunities for sound—not dialogue, but rather the use of creative sound effects and music. Indeed, it is possible to envision this script entirely without dialogue. It also has the virtues of visual action and of personal interaction that can be easily understood visually. A short script version should include some action that illustrates why the character needed the umbrella in the first place. 

An idiom can provide an excellent starting point for a short story, since the idiom provides a character as well as an editorial position on that character. It also implies a narrative. 

The premise here is that our main character is going to be a scapegoat. Why and how he becomes one is the thrust of the narrative of this particular short film. We have to choose a person and a situation—but not necessarily a situation that will telegraph the fate of the main character to the audience. Perhaps the most critical task here is to create a situation that will make the outcome (that the character will become the fall guy) logical and that will create a character with whose plight we can empathize. 

This particular anecdote does not have much narrative or a main character, the way our earlier source material did. It does, however contain a powerful irony the subjugation, under the name of religion, of indigenous people. This is not a unique story, since it could easily be used to describe the early incursions of Western European powers into North and South America. In a sense, it is one of the major patterns of colonialism. 

In order to focus on the concept of a moment of prayer turning into subjugation, we need to decide on a narrative and a character. We also need to make the point that at a certain time, blacks owned the land and were in power in South Africa. If possible, we should avoid the horrible cliche of traders giving gifts to the natives in exchange for property to evoke Manhattan being purchased for a handful of trinkets can undermine the originality of our approach. 

Each scene should advance the plot. Within each scene, characters have specific goals or actions. The scene is visually constructed around a narrative purpose but worked out in terms of character goals. If Character 1 has one goal and Character 2 has an opposing goal, the scene will proceed until Character 1 or 2 has achieved his or her goal. When that has happened, the scene is over. In the course of the scene, the other character does not achieve his or her goal. The success of one character and the failure of the other links directly to the advancement of the plot. 

Beyond the issue of visual detail, a second element of the tone is the relationship of your main character to the screen story.4 Is the character in the middle of the story, or positioned as more of an observer Every decision you make about dialogue, visual detail, and narrative structure will support a particular choice of tone. 

In most forms of storytelling, there is a variety of options available to the storyteller as to the position of the main character in the story. A third-person position makes the character an observer a second-person position places the character in the role of guide throughout the story finally, the first-person position places the character in the middle of the narrative—the story is happening to the character. 

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