Difference between revisions of "Sandbox 10/2018"

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* https://80.lv/articles/hand-painted-watercolor-pieces-in-3d/?fbclid=IwAR0Yt7OGhuVGSSmgpPb-_er2YMHcpYWUwnoisew6jFUPY1iVdwccbx1Ee7M
 
* https://80.lv/articles/hand-painted-watercolor-pieces-in-3d/?fbclid=IwAR0Yt7OGhuVGSSmgpPb-_er2YMHcpYWUwnoisew6jFUPY1iVdwccbx1Ee7M
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* Games for children ideas: https://www.facebook.com/rachel.poon.9693/posts/10156967329683900

Revision as of 09:36, 26 November 2018


Among his first lessons are the three Cs: the contract, the clock, the crucible. “These are the elements that not just thrillers have but all stories have,” he explains at his publisher’s offices in New York. The contract is the promises made to the reader that have to be kept, so earn readers’ trust. “The idea of a ticking clock: you go back to even something as gentle as The Bridges of Madison County. Her husband’s coming back in a few days and these two people have got to figure out if they’re going to be together. If they met in a town and there’s no husband coming back, and there’s no ticking clock, it’s not an interesting book.” And the crucible? “That’s one of my favourites: this idea of constraining your characters and forcing them to act. If you look at the end of Jaws, you’ve got these people sinking on a boat and a shark’s coming toward them. The ocean’s their crucible: they can’t go anywhere, they have to deal with the problem. If they had a perfectly healthy boat and some big engines, they could just outrun the shark and the book’s over. But they’ve got the crucible.”