Sublime
An inspiration engine for ideas
fine writing puts less stress on what happens than on to whom it happens and why and how it happens.
Robert McKee • Story: Style, Structure, Substance, and the Principles of Screenwriting
Writing is not what follows research, learning or studying, it is the medium of all this work.
Sönke Ahrens • How to Take Smart Notes: One Simple Technique to Boost Writing, Learning and Thinking – for Students, Academics and Nonfiction Book Writers
peripeteia in action.
John Yorke • Into The Woods: How Stories Work and Why We Tell Them
Brooke is a very good fellow, but pulpy; he will run into any mould, but he won’t keep shape.’
Rosemary Ashton • Middlemarch
All scenes must be thematically or structurally justified in the light of the Climax. If they can be cut without disturbing the impact of the ending, they must be cut.
Robert McKee • Story: Style, Structure, Substance, and the Principles of Screenwriting
archives of Charles Scribner’s Sons, which are housed in the Princeton University Library.
A. Scott Berg • Max Perkins: Editor of Genius
Vogler’s paradigm is in essence nothing more than a three-act structure viewed from the protagonist’s point of view;
John Yorke • Into The Woods: How Stories Work and Why We Tell Them
Anxious, inexperienced writers obey rules. Rebellious, unschooled writers break rules. Artists master the form.
Robert McKee • Story: Style, Structure, Substance, and the Principles of Screenwriting
Edwin is capable of action but prone to inertia.