Ambitie Project periode 12
Voor mijn ambitie project deze periode heb ik onderzoek gedaan over story writing en ben ik begonnen aan het schrijven van een short story en heb ik er een boek cover bij gemaakt.
Short story:
Title:
Demonic Fates (a short story in the My Little Tragedy’s collection)
Genre: Tragedy, Fantasy
MC 1: Ezizh (Age 3000)
MC 2: Daemia (Age 4) – (old name Yona)
Ezizh found Daemia when she was 2 years old raising her sinds. Daemia sees him as an Father and Ezizh sees her as a daughter.
World Setting:
Time zone: before 17th century (Kreonna)
Season: Spring
Location: Kreonna
Ezizh is going to say something he is going to regret like; I hate you.
Demonic fates: Versie 1
Suddenly Daemia felt a sharp pain in her chest. Blood starts dripping from her mouth. She looks down. She had been shot. Her eyesight starts to get blurry and tears start rolling along her face. “Papa….” she whimpers while throwing up blood. *thump* Ezizh whips his head around and within just a few seconds he was next to her, holding her tiny body in his arms. Slowly while choking on her own blood she utters “Papa…Do you still love me?”
Demonic fates: Versie 2
Suddenly Daemia felt a sharp pain in her chest. Blood starts dripping from her mouth. She looks down. She had been shot. Her eyesight starts to get blurry and tears start rolling along her face. “Papa….” she whimpers while throwing up blood. *thump* Ezizh whips his head around and within just a few seconds he was next to her, holding her tiny body in his arms. Slowly while choking on her own blood she utters “Papa…Do you still love me?” Before he could even answer he felt her body go limp and her now lifeless eyes stare into his souls. The eyes who were once filled with joy and mischief are now dull and lifeless. Ezizh leaves out a blood curdling scream. He began to sieve with rage. How dare you he screamed. She was just a child! We were just trying to live our lives in peace! He closed his eyes and cried out in pain. The one reason he had to keep on living was now gone… He closed Daemia’s eyes and softly placed her on the ground. You will pay for this he muttered while standing up.
The now terrified villagers move backward but it was already to late. Ezizh stood up and began slaughtering the villagers one by one. Screaming and struggling the villagers tried to get away with some putting up a fight but in the end it didn’t matter. It’s not like they could out run a 3000 year old demon.
leaves out a blood curdling scream.
and dies in Ezizh arms.
Ezizh was sieving with rage. How dare you he screamed. She was just a child! The villagers move backwards still holding her pitchforks.
Demonic Fates Versie 3:
Suddenly Daemia felt a sharp pain in her chest. Blood starts dripping from her mouth. She looks down. She had been shot. Her eyesight starts to get blurry and tears start rolling along her face. “Papa….” she whimpers while throwing up blood. *thump* Ezizh whips his head around and within just a few seconds he was next to her, holding her tiny body in his arms. Slowly while choking on her blood she utters “Papa…Do you still love me?” Before he could answer, he felt her body go limp and her now lifeless eyes stare into his soul. The eyes that were once filled with joy and mischief are now dull and lifeless. Ezizh leaves out a blood-curdling scream. He began to sieve with rage. How dare you he screamed. She was just a child! We were just trying to live our lives in peace! He closed his eyes and cried out in pain. The one precious reason he had to keep on living was now gone… Carefully he closed Daemia’s eyes and softly placed her on the ground. You will pay for this he muttered while standing up.
The now terrified villagers move backward but it was already too late. Ezizh stood up and began slaughtering the villagers one by one. Screaming and struggling the villagers tried to get away with some putting up a fight, but it didn’t matter in the end. It’s not like they could outrun a 3000-year-old demon.
Tweede Stuk dat ik nog moet vast maken:
Waking up with a headache is never fun but it was nothing out of the ordinary for Ezizh. That’s what stress will do to you. Especially if you have to take care of a 4-year-old little demon who loves to pull pranks on humans. He got out of bed and started to make breakfast. Ezizh scanned around the house and noticed that Daemia was nowhere to be seen. Usually, this isn’t uncommon but something just felt off.
Bewijslast vormgeven:
- Ik maak verschillende prototypes in een doorgaand proces van ontwikkelen, ontwerpen, testen en verbeteren.
- Ik zet passende software professioneel in.
- Ik lever een kwalitatief eindproduct op de juiste wijze op.
Ik had het vorige ambitie project 2 characters gemaakt en ik heb 1 van hun wat veranderingen aan gebracht omdat ik achter af haar design toch niet zo leuk vond en voelde dat er dingen misten. En de character zou voor dit ambitie project weer terug komen in het verhaal dat ik wou gaan schrijven en op de bookcover die ik ervoor zou gaan maken. Ik vond haar naam achteraf ook niet heel erg bij haar passen en ik heb die veranderd.
Yona is haar oude naam en die is veranderd naar Daemia
Ik heb haar pupillen veranderd van een zwart ruitje naar dubbele pupillen in een oog die heel erg licht van kleur zijn omdat het heel onnatuurlijk lijkt en ik vond het beter bij haar passen. Daarnaast heb ik de strikjes veel meer detail gegeven omdat ik het veel te simpel vond. Ook heb ik haar pony veranderd naar een meer vierkant figuur om dat schattige er echt uit te halen en daarnaast haar haar lichter gemaakt en het haar meer detail gegeven. En tot slot heb ik haar wimpers de zelfde kleur gegeven als haar haar om het natuurlijker te laten lijken
Ik heb deze periode ook nog aan een boek cover gewerkt voor mijn project en daar dingen in het proces veranderd zodat ik een mooi eindplaatje zou krijgen.
Het moodboard die ik heb gemaakt voor mijn boekcover:
Ik heb de tweede schets gekozen omdat die ovaal toch kleiner was en ik het mooier en beter vond en na feedback vragen aan klasgenoten werd die ook vaakst gekozen omdat het niet het hele blad opnam.
Toen ben ik begonnen met de platte kleuren en een achtergrond kleur erbij te kiezen en ik vond het paars niet erg goed bij passen en dat was eerst de gekozen kleur en ben uit eindelijk bij groen gekomen om echt die pastel vibe te krijgen.
Bewijslast Project management:
- Ik verantwoord mijn beslissingen en onderneem tijdig en doelgericht acties.
- Ik stem project activiteiten effectief op elkaar af.
- Ik laat mijn vaardigheid zien in het plannen, uitvoeren, begroten, uitbesteden en evalueren van het project.
Ik heb voor dit project een planning gemaakt.
De originele planning is maakt in potlood en de aantekeningen gemaakt in pen om het uit elkaar te halen.
Ik heb aantekeningen met pen gemaakt omdat ik vaker ziek ben geweest of dat er dagen wegvielen en dan had ik die dag niks gedaan en moest ik het later gaan inhalen. Dus ik heb met pen pijlen en datums erbij gezet daar welke dag het werd verplaats. En ook vinkjes geplaatst bij de dingen die al afzijn gemaakt.
Daarnaast heb ik voor dat ik aan de planning begon een kleine plan van aanpak gemaakt met dingen die ik moest doen.
Bewijslast Onderzoeken:
Ik onderzoek en begrijp de opdracht.
Ik verzamel en verwerk informatie uit verschillende bronnen.
Ik verdiep me in relevante trends en ontwikkelingen.
Ik heb voor mijn ambitie project onderzoeken gekozen omdat ik graag een verhaal wou schrijven en ik heb voor het onderzoek allemaal artikelen en YouTube filmpjes bekeken en noties erbij gemaakt.
How to Write a Tragedy
What is a Tragedy?
- Story in which the protagonist fails to overcome a flaw or learn a lesson.
- Fall back on old ways or become worse.
- The character may get what they want not what they need.
- Tragedies often end with the main character dying this can be literally dying or a symbolic death.
- Tragedies usually has an unhappy or unsatisfying ending.
Structuring a tragedy.
- Foreshadowing that will hint at the tragic end
- All hope is lost trope (Ongeveer pas in 70% van verhaal). (seeing someone die like a mentor) Switch this for all hope is gain ( MC feeling really good about themselves, what they currently have and what they have accomplished) and in the end they lose everything bc of a choice they made.
Negative change arcs.
- Disillusionment arc: overcome a lie but learn a harsh, tragic truth.
- Fall Arc: Cling to lie & ignore truth
- Corruption Arc: Abandon truth & pursue lie
- Tragedy is a work of drama that involves some type of human suffering as its central premise. There are many types of tragedy, ranging from Greek tragedy to Elizabethan tragedy, and all the way through to contemporary dramatic fiction and theater. Most true tragedies show the audience a great hero's downfall, either caused by his own actions/inactions or by forces beyond his control.
- A tragedy generally involves either a tragic hero (often a person of great social importance), who suffers some great downfall and/or death as a result of some significant action or inaction, or the scapegoat (a person of low social importance), who is involuntarily thrust into tragic circumstances beyond his/her control
- Tragedies are full of horrible, disastrous events. Make it clear that the upsetting things that happen to your characters are horrible beyond the surface-level shock.
Study the tragic Plot structure:
The essential elements of every tragedy include:
-exposition - the essential "background" information, which may be delivered all at once in the beginning of the play or throughout the dramatic piece via dialogue and/or soliloquies
- conflict - the tension that arises as a result of some conflict, usually between either character vs. self, character vs. character, character vs. environment, character vs. natural forces, or character vs. group
- climax - the point in the play in which tension cannon be reversed and events must turn towards one of two outcomes
- resolution/denouement - the unraveling or release of tension, often through the death of one or more characters in the play
The plot structure of a tragedy typically relies on one of three types of plot. Those plot types are:
- climactic - tension builds toward a single point (climax) before the resolution, usually through a linear structure comprised of causal actions
- episodic - often composed of numerous short, fragmented scenes involving many characters and numerous threads of action to highlight various aspects of humanity
- non-sequitur - inconsistent events involving existential, often under-developed characters engaged in something relatively meaningless, meant to highlight the absurdity of existence
Source:
How to make the audience cry: Injustice
- The key to creating sadness does not lie in the action but rather the reaction of those affected by it.
- A confused viewer is never going to cry.
- Injustice: Carl has been a good person, lived the life without sin. Yet despite all that, he has had everything taken away from him. And now through no fault of his own he has nothing left to live for.
- The contrast from extremely happy to immensely sad, gives so much more of an emotional fall for the viewer.
- A bad filmmaker will make the audience that the character is sad. A good filmmaker will make the audience understand why the character is sad.
- If we cannot see the character grief, then it is hard for us to share that grief alongside.
Source:
How to write a disaster & dark moment:
- The disaster isn’t just some “random terrible thing’’ that happens to your protagonist. If the “disaster” you have in mind would be equally terrible if it happened to any of your characters… you need to come up with a different disaster.
- To really make your characters suffer, root the disaster in their greatest fear and misbelief. It might be something terrible for anyone to experience, but go beyond that and make it something especially bad for your protagonist because of their fear and misbelief.
- Every decision your protagonist has made throughout the story has led them to this moment… which means they are to blame for their own ruin. This extra layer of pain that is so deeply satisfying for your audience. If its just a random ‘’thing happening’’ then your protagonist is a punching bag for the plot; but if it’s a direct result of their own actions, then your protagonist is the creator of their own suffering.. and the cause of their own destruction.
Disaster:
Everything goes wrong
Bring you protagonist to their knees by rooting the disaster in their greatest fear and misbelief. It might be something that’s terrible for anyone to experience, but go beyond that and make it something especially bad for your protagonist because of their fear and misbelief. Every decision they have made throughout the story has led them to this moment… which means they are to blame for their own ruin.
PROMPT:
Ask yourself:
- What does this disaster specifically mean to my protagonist?
- How does it force them to realize that they’re the one to blame for the crisis?
- How does it completely disarm them and make them face off with their fear and misbelief?
Dark moment
Protagonist is hopeless
It’s always darkest before dawn. Your protagonist needs a rock-bottom moment in order to have an ‘’aha’’ moment – and that makes the revalation so satisfying. But right now, in wake of the disaster, uour protagonist is feeling utterly and completely broke, confused, lost, and disappointed.
PROMPT:
Ask yourself:
- How is my protagonist forced into the ring with their kryptonite? ( That doesn’t necessarily mean their fear. It could be their specific fear, but more likely it’s the thing behind the fear. The thing that emotionally disarms them and leaves them hopeless).
Source:
The most important part of your story: The aha moment.
- Only after your protagonist has their aha moment can they continue to the climax. Without this revelation, they don’t have the courage to face their biggest challenge yet. But with this revelation, the protagonist can finally overcome their fear, crush their misbelief, and show the reader how much they have transformed since the beginning of the book.
- Remember, if you don’t have a character arc, you don’t have a story. You just have a random assortment of stuff happening to make random assortment of people. You character arc is what makes your story engaging, satisfying, and memorable.
- Why does the aha moment matter to YOU? This is the reason why you wanted to write this story in the first place. This is the truth you wanted to scream from the rooftops! If the whole world stopped to listen, what would you say? Bring your passion into the aha moment, and you will leave a lasting impression on your audience.
source
How to write a short story:
Fundamentals of a short story:
Ask yourself:
Plot:
- How long/extensive do I want to make this character journey?
- Will there be side characters or sub plots?
- Does the idea span an entire ‘’journey’’ or just a single, significant event?
Characters:
- Novel = journey: Character is transformed as a result of their journey.
- Short story = event: Character is transformed as result of this event.
Theme:
- Internal conflict is the secret ingredient to capturing your readers attention.
- When we know why it matters to the characters, we know why it matters to us.
- An when something matters to us, we pay close attention to it.
5 Things Audience hate:
- Failed to prepare them for genre elements: Establish genre you choose early on.
- Inconsistent pacing: The speed which a story is told. Early on slow pace is okay and ending fast pace. Don’t do fast- slow-fast pace!!
- Unnecessary recaps of previous events in the story. (keep recaps short and summarised) Don’t do drawn out conversations about prior events.
- Pulling punches. Bijv: The villain has an opportunity to do something or harm someone and they have the desire to do so but for some stupid reason they don’t like they slipped on a banana peel. It breaks the reality of the story.
- Cliff-hanger endings with no resolution whatsoever.
Source:
How to write a novel:
Step 1: Determine your setting
Location is an enormously useful tool in novel-building. You should treat it as you would treat a character, allowing it to convey mood and letting it reveal more of itself over time. By selecting locations that excite you, you can transform relatively mundane scenes into more compelling ones.
Location can also provide the inspiration for scenes and can even shape the course of your story
To weave setting into your story, ask yourself the following questions, then answer them in your prose.
- What season is your novel set in? What is the weather like in your location at that time?
- What are the elements of your setting like during this time? For example, was that business closed fifteen years ago? Did that street have a different name then? Was that statue erected before your characters arrived there?
- Does your novel center around a major world event, like war or natural disaster? How does this limit or define your time frame and impact your setting?
- What cultural details belong to this time and location? Consider music, literature, entertainment, clothing styles, food trends, lifestyle trends, and big national events or crises that shape public sentiments.
Step 2;
Every story is made up of both events and characters. A story happens because a pattern is interrupted. If you are writing about a day that is like any other day, it is most likely a routine, not a story. In order to be a story, something has to happen. We call what happens in a novel the plot.
There are two types of conflict:
1. Internal conflict (a threat from within)
2. External conflict (a threat from outside)
Step 3: recreate natural dialogue
In real life, speech has lots of padding or “stuffing”: words like umms and yeahs. But dialogue in fiction must be both more incisive and selective. It is shorn down to reveal what people want from one another, reveal character, and dramatize power struggles.
- When your characters are speaking, they should be trying to get something from one another, or make a power play. (Seduction is one form of power play.) As you draft each scene, ask yourself what your characters are trying to get. What are they trying to avoid? How do these wants inflect their speech and guide what they say—or don’t say?
- There are often wide gaps between what people say and what they are thinking, between what one understands and what one refuses to hear. These gaps can collectively be referred to as subtext, and they are valuable territory for the fiction writer. Stay alert to a character’s thoughts, and let them generate drama in the scenes you write.
- To get dialogue right, you must understand how your characters speak. This is likely influenced by where they come from, their social class, upbringing, and myriad other factors. Speech and tone are always bound up in what has happened and is happening to a character.
Step 4. Articulate voice through point a view
One way to determine what point of view strategy to use in your novel is to ask: whose voice is telling the story? To whom are they telling it, and why? Common point of view strategies include:
- First person point of view. This is the “I.”
- Third person limited point of view. This is the “he” or “she.”
- Third person omniscient point of view, in which a narrator who is not a character and who knows more than the characters relays the events to the reader.
- Second person point of view, which is structured around the “you” pronoun, and is less common in novel-length work but can work well for short stories.
You don’t have to be tied to one point of view throughout your short story or your novel; some bestselling novels move from first to third or first to second. Let your material guide your decision.
The only way to decide the best point of view strategy for your novel is to try different ones. Likely, you’ll know the right one for your story because the writing will begin to move more quickly, and you’ll feel momentum.
Sources:
Good Dialogue vs Bad Dialogue:
Good Dialogue:
- It sounds natural
- Attacks of defends
- Expresses unspoken meaning (Subtext)
Bad Dialogue:
1. On the nose
- States the obvious
- Baldly states thoughts/feelings
- No mystery, subtlety or subtext no deeper meaning
2. Melodrama:
- Over-the-top emotion
- Emotion that is not earned
- Angry or passionate outburst
- Often signalled by exclamation points!!
- Too much yelling
- Forcing sense of conflict
- Unintentionally funny
3. Exposition: As you know Bob:
- Characters discuss things they already know
- Lazy exposition
- Often sounds unnatural
- Neither character learns anything new
- No tension or conflict.
4. poetry
- Everyday people suddenly become poets
- Gruff characters using flowery language
Sounds unnatural.
- Why it sucks: Flowery & unnatural, tries too hard to be poetic, isn’t grounded in the character.
5. Wooden Dialogue
- Too Formal
- Stilted
- Unnatural
- Off-tone
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Narrative or story Arc:
The narrative arc of a story is the path it takes to resolve the conflict. It is the sequencing of the story and the thing that gives it shape. As the backbone of any story, the narrative arc is characterized by:
– “exposition” (story setup)
– “rising action” (the Conflict builds)
– climax” (the turning point where the situation is at its most intense)
– “falling action”
– “denouement” (the unraveling of the conflict to show how things have changed).
The narrative arc differs from the plot because the plot is what happens. In contrast, the narrative arc is the sequence in which the plot events occur in the story to create the overall story. To put it another way: the narrative arc is how the story is told, using the ‘cards’ of the plot. It’s the sequence in which the cards of the plot are dealt.
It’s the combination of plot and the narrative arc that creates a story.
Ending:
The ending is short, often only a couple of sentences in a short story. This is where everything is wrapped up.
It follows the climactic fight and winds down the remaining character and plot points, letting readers breathe and showing them what comes next for the character.
A Short story is not:
1. Short stories are not poems. Poetry doesn’t have the burden of having to tell a story. Short stories are stories with story structure. You can write them with poetic language, but there must be a story in there.
2. Short stories are not plotless. Stream of consciousness is a great way to write morning pages, to get in the mood to write, to journal, etc. It’s not a great way to write a short story. Again, short stories are stories. They have to have a plot.
3. Short stories do not have subplots. Remember that guy I talked about at the beginning of this article? When he went off on tangents, he was getting into subplot territory. There is no room in a short story for subplots.
Sources:
Character Development:
What is character development:
- Character development is the process of building a unique, three-dimensional character with dept, personality, and clear motivations. Character development can also refer to the changes a character undergoes over the course of a story as a result of their actions and experiences.
How does character development affect story?
- Your character doesn’t have to save the world: perhaps they are trying to save their family from an eviction.
- Your job is to establish what’s important to your character (ideally something that your audience can relate to), and help the reader imagine what might happen if they lose that important thing.
How to develop a protagonist.
- Give the protagonist flaws.
- Give the protagonist an arc.
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