Digital storytelling 2019-20

ATTIVITA' ACCADEMICA PUBBLICAZIONI PROGETTI DI RICERCA CONVEGNI CORSO ... DI CHI

writer's guide . The reader | | | his/her MONSTER   Is there an IDEA about life they want to talk about? How do they represent themselves? How do they give sense to their life, as a sequence of chronological events? How do they talk about themselves?         .     ‘space drama’   how can I let the reader in this ‘other world’?   How can he familiarize with my space?   How can he interact with my world?   How can the reader be changed by the experience? How can I take him out of this ‘other’ world? First he needs to be hooked, than to be engaged so to open his mind and experience         GIVE A TWIST TO THE EVERYDAY . An IDEA   . Who is the main character + Who is the narrator . round vs flat characters     Character: Spatial- temporal coherence connection to historical character External motivation Internal motivation Conflict Change       HERO + Anti-HERO   Characters should be involved in a CONFLICT : the character should be in imminent danger of losing something of importance. The main character cannot be weak. At least he is not strong enough. . To be effective, characters need conflict. There are four types of conflict: INNER CONFLICT - Characters are unsure of themselves, or their actions, or even what they want. SOCIETAL CONFLICT – The character can be against a group of people who represent society (a political group, a team, town leaders). SITUATIONAL CONFLICT - Something happens suddenly to the character (it could be a personal situation). How will s/he handle it? COSMIC CONFLICT - The character has to face supernatural forces. [[Mara Logaldo, English for the Media, Arcipelago Edizioni 2014-15]] . . . an everyman thrown into extraordinary circumstances, or an extraordinary person in ordinary circumstances .   CHARACTER’S NAME SOCIAL BACKGROUND CULTURAL BACKGROUND PHYSICAL OUTFIT PROFESSION PSYCHOLOGY/ PERSONALITY   John Smith             Pippo Potamo           . Characters should be plausible – although fictional – beings. The following aspects should always be taken into account: DRAMATIC NEED - What does the character want? What is he/she going to get or going to achieve? POINT OF VIEW - Ways the character views the world ATTITUDE - Manner of opinion CHANGE - Characters must change [Mara Logaldo, English for the Media, Arcipelago Edizioni 2014-15] .. . To create empathy, the hero should share the virtues we usually admire in life: : generosity, honour, humility, compassion, selflessness. + some flaws to be believable . . . . VILLAIN: negative main character >> DANGER the reader usually hates the villain. The more the villain acts hideously, the more the reader dislikes him . MINOR CHARACTERS; with or without names CHARACTER IDEAS >> more believable and more consistent .         EXAGGERATE . + . Past Present (a social circle, a home, an occupation, hobbies, …) Future .     . SETTINGS must be pertinent to the story, vibrant and real. Don’t overdo it. Settings should be able to create the MOOD . . primary emotions and secondary emotions 1. Love . Affection, lust, longing, adoration, fondness, liking, attraction, caring, tenderness, compassion, sentimentality, arousal, desire, lust, passion, infatuation     2. Joy   . Cheerfulness, amusement, bliss, gaiety, glee, jolliness, joviality, joy, delight, enjoyment, gladness, happiness, jubilation, elation, satisfaction, ecstasy, euphoria, zest contentment, pride, triumph, optimism, enthrallment, relief 3. Anger   . Irritation, exasperation, rage, disgust, envy, jealousy, torment, outrage, fury, wrath, hostility, ferocity, bitterness, hate, scorn, spite, vengefulness, dislike, resentment, revulsion, contempt, loathing, agitation, annoyance, grouchiness, grumpiness 4. Surprise   . Amazement, astonishment, bewilderment 5. Sadness   . Agony, suffering, hurt, anguish, depression, despair, hopelessness, gloom, glumness, unhappiness, grief, sorrow, woe, misery, melancholy, dismay, disappointment, displeasure, alienation, isolation, neglect, loneliness, rejection, homesickness, defeat, dejection, insecurity, embarrassment, humiliation, insult, pity, sympathy, mortification 6. FEAR   . Alarm, shock, fear, fright, horror, terror, panic, hysteria, anxiety, nervousness, tenseness, uneasiness, apprehension, worry, distress, dread . . . . . IDEAS: ask questions until you find conflict! Who is your main character, and what is his objective? Who is the opposition, and what is his/her objective? What other characters are needed? What is the conflict? What stands between characters and their objective?   Give your reader a reason to be for or against your characters . . IDEAS < VS > STORY story plot discourse   voice, the viewpoint, the mood > STYLE   set the stage, explain the conflict, give the resolution       Torna