Sentences with phrase «know story structure»

They know the market, they know the genre, and they know story structure.

You have to know story structure.

If you know story structure inside out, this is still a useful guide for checking that you've got it all covered.

Jodi's a best - seller because she's an ace with characters, draws vivid settings (her latest is the Harmony series, set in the made - up Harmony, Texas) and knows story structure cold.

Not exact matches

Third and finally, the traditional story misses the real function of private banks, which is to solve an information problem in the purest Hayekian senses. That is, banks are or should be specialists in risk assessment and risk taking. They should know their client, understand the local market and have their pulse on the broad economy. Arguably, if properly structured, they can and should do this better than other entities such as governments. In other words, the proper role of banks should be underwriting — lend money, hold the debt, and bear the risk. Which is a long - winded way of getting to the main point of this post.

The biblical fall story, he insisted, can no longer be regarded as an explanation of evil, but only as an exemplification of its structures.

Gay «No» campaigners Keith Mills and Paddy Manning pointed out that such was perfectly possible without undermining family structures completely since extensive Civil Partnership legislation was already in place, and they did make a difference, but the softening up of the electorate by years of sob - stories would have taken far more time and effort to overcome.

Recognizing that their critique has rendered images of God no longer absolute, feminists have discovered that the religious power structure is reluctant to admit that patriarchal symbols for God are culturally influenced (as if God really were male) or contingent (as if use of a feminine symbol to point to a nonrepresentable God is more inadequate or idolatrous than use of a male symbol) To read Mary Daly or Naomi Goldenberg, to consider Rosemary Ruether's demasculinizing of the Gospel stories or to ponder the renewed attention to «goddess» theology and the development of a lesbian theology is to see the basic language of theological discourse upset and transformed.

There are parallels here that can be drawn to Fincher's ZODIAC, another story of murder that became a tangled web of conspiracy, but Fincher knew how to structure his film.

That Anderson can still excitingly tell a new story within the structure of his unique visual language that we've gotten to know so well is just a testament to his incandescent genius.

Knowing this much, a different filmmaker might have set about structuring his story as a personal journey into his family's history.

Its structure, which consists of two interwoven renditions of the same story — one comedic, one tragic — might've come across as a completely artificial gimmick in anyone else's hands, but Allen knows exactly what he is doing.

With its Sam Shepherd - meets - Jeff Nichols» poetic» dialogue, its back - and - forth structure, and its backwater setting, I knew I wasn't experiencing the whole story.

The story centers on Philip Seymour Hoffman's character, a man known only as The Master who creates his own type of a religion, a belief structure which quickly gets a massive following.

While the story structure remains unclear, the casting of Goodman seemingly confirms that the character is no longer dead.

To tell this story, Howard — together with screenwriter Charles Leavitt — adopts the familiar film - within - a-film structure, with the action beginning in 1850 with Melville (Ben Whishaw) visiting Nantucket to see Tom Nickerson (Brendon Gleeson), the very last survivor of the Essex and the only man who knows the true story of what went on.

It's in many ways a true successor to «Following,» in the same neo-noir milieu (though this time a gloriously lit California, courtesy of Wally Pfister, in their first collaboration), and with an even more intricate structure; Shelby's story is told backwards, from his execution of pal Teddy to a beginning / ending that reveals that much of what little he knows about his existence is a lie.

It's intriguing, and asks valid questions about when we can reasonably expect a young adult to know who they truly are, and why we tend to punish people who prefer to think for themselves, but it has some issues as well, namely an absurd amount of exposition, a rigid story structure, and a lack of emotional impact.

-- Mike Rot [LOVED] The biggest surprise in this successful Hollywood story about a distinctly non-Hollywood guy failing to make a Hollywood story and failing, is that James Franco and his writers have not adlibbed the comedy into tediousness, but accomplish rigorous structure, themes, and, you know, storytelling.

The story of the mistreated girl and her budding romance with a young prince is well - known and Branagh has maintained much of its structure (this is much more traditional than the 2014 hit Maleficent) while adding a unique but subtle spin on it.

I have used both of these formats to differentiate GCSE English Language creative writing: for pupils who struggle with story structure, they can write a series of letters, or a letter and a reply, based upon characters they know from novels they've studied.

I know a lot of indie authors and read a lot of indie stories, and I'm aware of the strategies behind their pricing decisions, so, the lower end of the pricing structure isn't an issue for me.

So my question is, would someone like me, that thinks they have a great story but knows structure and / or grammar needs help, would it be useful to hire a new / cheaper editor to get the main wrinkles out then spend more time on it myself after that AND THEN hire a more professional editor?

When I first wrote Silver Smoke, I didn't know anything about basic story structure aside from what my intuition told me.

Since our self - published anthology was written by multiple authors, we knew it was important to hire a professional editor to ensure consistency in the style, format, structure, and language of the story.

You want to be at Judith Briles Speaking Unplugged if you want to know how to structure a speech; create the stories to enhance your presentation; create an opening or closing that hooks the audience; know how to engage...

Knowing that I'm going to have to push, pull, squeeze, or stretch the story I'm writing into that 3 - act (or whatever) structure haunts me during the first draft.

Successful writers I know — whether they're published commercially or self - published — need to write and rewrite their books many times, usually with the support of a developmental editor, not someone who does spelling and punctuation but a creative partner who is able to identify and solve problems with the story, structure, characterization, dialogue, visual description, literary style, pacing, the narrative arc — with a first, second, and third act that engages the reader and reaches some kind of epiphany or denouement that entertains, illuminates and provides emotional satisfaction for the reader.

I may not have the fortune of purchasing every writing craft book out there, but my self - study into writing means that I at least know what I'm looking for: If I feel the need to play with a new structure for outlining a novel, or feel, perhaps, that my story needs a different archetypal character.

If you're a fiction writer, you know there are a number of elements that a writer needs to incorporate to create an engaging and believable story, such as characterization, plot, structure, clarity, and so on.

By the time you've finished this quick read, you'll know more about story structure than the vast majority of aspiring authors will ever know — and you'll be ready to write an amazing novel that stands above the crowd.

The more we know about story structure, grammar, etc., the better we'll know whether an editor's suggestions are great or off - base.

«25 Things You Should Know About Story Structure» by Chuck Wendig on Terribleminds < — The man does it again!

Your story structure won't look like a pyramid and people won't know there are other branches.

The combat's fine, the story's fine, the structure of things arranged for you to do is fine, but it's this movement that elevates everything, and the designers know that.

DmC throws out everything you knew about Devil May Cry, while retaining its key characters, Dante, Vergil and Mundus, as well as similar story structures previous entries were known for.

NetherRealm has very much set the standard with its story campaigns, knowing first - hand how to craft a well - structured and compelling narrative, as evidenced by the two most recent Mortal Kombat titles, as well as its DC Universe crossover, and it's a blueprint that even Capcom attempted to clone for its Street Fighter V story mode (but failed miserably).

Each episode will apparently be its «own unique experience» but as yet we don't know how many episodes there will be or how they'll be structured in relation to the original story.

MGS V: The Phantom Pain took open world gaming to a new level, and the Fox Engine — built specifically for this game — as well as the careful mission / story structure, the base - building mechanism from Peace Walker, the multiple ways to play (stealth vs. guns blazing, and mixtures of both), and the attention to detail that Hideo Kojima has always been known for make this game one of the best of 2015 — and of all time.

I knew they would because I feel — I don't have kids, but obviously my friends do and I hear stories all the time and kids are so resilient and amazing and especially it sounds like you guys have such a strong family structure and a support system that I didn't doubt that they were going to be fine, but I needed to make sure and ask.

One thing we both found interesting and very comforting was that no matter the age range of the couples in the workshop or our specific stories of children in the partnership, years of marriage, dynamic of household, or employment structure, we all had a common purpose of betterment.

«When families come to me for help, I assume they have problems not because there is something inherently wrong with them, but because they've gotten stuck — stuck with a structure whose time has passed and a story that no longer works.»

The retail space opens through a series of portals into an adjacent two - story structure that houses the Ogilvie Transportation Center (also known as the Northwest terminal), a major commuter hub for the city.

JLL, formerly known as Jones Lang LaSalle, defines a skyline structure as a building with more than 750,000 square feet or taller than 30 stories and that meets three of the following criteria: was built or significantly renovated since 1985, competes at the top of its submarket, is in a high - profile location, and / or has a recognized tenant profile or architectural significance.

Oh, no, I mentioned in my first post about the barn that ours will be a one - story structure.