[ SECRET POST #3234 ]

[case]

⌈ Secret Post #3234 ⌋

Warning: Some secrets are NOT worksafe and may contain SPOILERS.

01.
[Golden Girls]


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02.
[Boku no Hero Academia]


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03.
[C.S. Lewis vs. J.R.R. Tolkien]


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04.
[Pokémon, Leah Remini]


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05.
[Tales of Zestiria]


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06.
[The Man In The High Castle]


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07.
[Marjorie Liu, Sana Takeda, Monstress]


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08.
[Sleepy Hollow]








Notes:

Secrets Left to Post: 01 pages, 020 secrets from Secret Submission Post #462.
Secrets Not Posted: [ 0 - broken links ], [ 0 - not!secrets ], [ 0 - not!fandom ], [ 0 - too big ], [ 2 - repeat ].
Current Secret Submissions Post: here.
Suggestions, comments, and concerns should go here.

Comments

Re: Inspired by #3

[intrigueing]

That's really interesting, and makes so much sense! I don't recall ever personally having an unreliable narrator issue (or issues with understanding characterization in general - for some reason I always had a good handle on unreliable narrators and depiction =/= endorsement...maybe my parents got me to understand it or something, IDK). But I do remember being COMPLETELY lost on concepts like foreshadowing, or exposition, or pacing, or any rules about how to use implicit conveyance of meaning.

Like, I never saw a twist ending coming. Ever. And if stuff happened in a book, it was just stuff that happened, it never occurred to me that if stuff happened in a book, it was probably relevant to the direction the story was going. (This is probably because I read insane quantities of fairy tales and folk tales as a kid, and in those, random tangents in stories often WERE just random tangents that existed for the sole purpose of entertainment and didn't have to flow or contribute to the rest of the story in any way.)

And it utterly baffled me when someone complained about how every Harry Potter book had that one chapter where Quirrel/Riddle/Lupin/Crouch Jr/Dumbledore explained the whole background of what the hell had been going on for the whole book. It never crossed my mind that extended expository monologues weren't exactly great things to have in your story, structurally. They contained compelling information about the story and therefore I had zero considerations about how this information was conveyed.

Re: Inspired by #3

[(Anonymous)]

Foreshadowing was the first literary device I really got, and I've always been pretty good at it. My big eureka moment was actually learning that you can foreshadow too much, which I really saw in the Hobbit movies where PJ had to foreshadow EVERYTHING. Tolkien even mentioned it about how anticipating everything flattened out a tale and didn't allow for surprises. You can really feel that in PJ's Hobbit.

I feel like I'm still at the beginning of studying literary critique, despite years of English classes and my English major. I buy all the writers how-to books I can find, and I just love them. Using the 3-part structure and learning pacing and starting with a hook - all of it is so fascinating to me. The craft of writing doesn't get the recognition it deserves, I feel. People only notice it when it's bad but they don't know WHY it's bad and then apply that to the good authors and recognize just how hard it is or how much WORK it is to craft something beautiful.