What Is High Concept? Different Thoughts On Big Movie Ideas

Film Courage: What is a high concept movie idea? It’s something that has been brought up a handful of times in our interviews. We know it can be an elusive topic. Here is the best of what we have, hope you find it helpful.

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Julia Evans' blogging principles

Julia Evans: Blogging principles I use

“I constantly write things on this blog like “I’m not sure about this part…”. I try to not be falsely modest (when I do actually know something, I try to just state it without hedging), but when I don’t know something, I say so.”

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Use your words

Julia Evans’ blogging principles

Julia writes about technical stuff, but these guiding principles are universally applicable.

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10 Letters We Dropped From The Alphabet

Austin McConnell: Think you know the English language? Here are 10 letters folks used to use, but didn’t quite stand the test of time. Elemenopee, my homies.

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Pixar in a Box — Introduction to storytelling

TechCrunch: Pixar’s previous Khan Academy courses include topics like virtual cameras, effects and animations, but this is the first to focus on the less technical aspects of movie creation.

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The Plinkett Test
Use your words

The Plinkett Test: How to sort characters from cut-outs

Game critic and writer Andy Kelly uses a clever test to identify if characters in video games he plays actually qualify as characters. This test is taken from Red Letter Media’s famous ‘Plinkett’ reviews, specifically the long-form review of The Phantom Menace:

Qui-Gon Jinn

Andy Kelly: I call it the Plinkett Test. To prove just how forgettable the characters in the prequels are, he asks a group of friends to complete the following mental exercise.

Describe the following Star Wars character WITHOUT saying what they look like, what kind of costume they wore, or what their profession or role in the movie was.

It’s a test that can be applied to video game characters too. It’s far from scientific, but it’s a good way to determine if a character is, in fact, a character, and not just someone defined by their appearance or actions. To be clear, the Plinkett Test isn’t a method for determining if a character is a good character—just that they are one.

See also: Other Places — A video series by Andy Kelly celebrating beautiful video game worlds.

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Use your words

List of clams: Comedy phrases that need to be retired

John August: John Quaintance recently tweeted photos of two whiteboards listing phrases banned in the Workaholics writers’ room. His tweet has been widely shared, and is a mitzvah to all writers.

These phrases are all clams — jokes that aren’t funny anymore and therefore need to die. When you include them in a script, you’re evoking the rhythm of comedy without the content of comedy. They’re not just cliché; they’re hollow.

  • ___? More Like ___
  • Can You Not?
  • …I Can Explain!
  • Let’s Not And Say We Did
  • I Didn’t Not ___
  • Va-Jay-Jay
  • Wait For It…
  • Just Threw Up In My Mouth
  • Really?
  • Good Talk
  • And By ___ I Mean ___
  • Check Please!
  • Awkward!
  • Shut The Front Door!
  • Lady Boner
  • Rut-Roh!
  • I Think That Came Out Wrong
  • Uh…Define ___
  • No? Just Me?
  • Why Are We Whispering?
  • That Went Well…
  • Stay Classy
  • I’m A Hot Mess!
  • That’s Not A Thing
  • It’s Science
  • Bacon Anything
  • Cray-Cray
  • Real Talk
  • #Nailed It
  • Random!
  • Awesome Sauce
  • Thanks…I Guess
  • Little Help?
  • Laughy McLaugherson
  • ___ Dot Com
  • I Love Lamp
  • Oh Helllll Naw!
  • #Epic Fail
  • Did I Just Say That Out Loud?
  • Food Baby
  • Douche (Nozzle)
  • Soooo, That Just Happened
  • Squad Goals
  • I Just Peed A Little
  • Too Soon?
  • Spoiler Alert
  • Um…In English Please
  • Note To Self
  • Life Hack
  • Best. ___. Ever. (or Worst. ___. Ever.)
  • It’s Giving Me All The Feels
  • Garbage People
  • That Happened One Time!
  • Well Played
  • I’m Right Here!
  • Hard Pass
  • Are You Having A Stroke?
  • Go Sports!
  • Zero Fucks Given
  • We Have Fun
  • Who Hurt You?
  • I Absorbed My Twin In The Womb
  • I’ll Take ___ For $500, Alex
  • Thanks Obama
  • Wait, What?
  • Shots Fired
  • Sharkweek
  • You Assclown
  • Ridonkulous
  • Bag Of Dicks
  • Hey, Don’t Help
  • Debbie Downer
  • I Can’t Unsee That
  • That Just Happened
  • See What I Did There?
  • I’ll Show Myself Out
  • Here’s The Line, Here’s You
  • ___ On Steroids/Crack
  • Swipe Right
  • White People Problems
  • I Could Tell You But I’d Have To Kill You
  • That’s Why We Can’t Have Nice Things
  • I Think We’re Done Here

Found via John August’s own Scriptnotes podcast. I recommend listening to this episode for the ensuing conversation about these ‘clams’, why they happen and what to do in their stead (the segment is about 20 minutes in).

See also

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How a Word gets into the Merriam-Webster dictionary

To decide which words to include in the dictionary and to determine what they mean, Merriam-Webster editors study the language as it’s used. They carefully monitor which words people use most often and how they use them.

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Use your words

Merriam-Webster: How a word gets into the dictionary

This is one of the questions Merriam-Webster editors are most often asked.
The answer is simple: usage.

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William Shakespeare
Use your words

To be or not to be… original

The Guardian: The game is up: Shakespeare’s language not as original as dictionaries think

In an article for the University of Melbourne, Dr David McInnis, a Shakespeare lecturer at the institution, accuses the Oxford English Dictionary of “bias” over its citation of Shakespeare as the originator of hundreds of words in English.

“His audiences had to understand at least the gist of what he meant, so his words were mostly in circulation already or were logical combinations of pre-existing concepts.”

McInnis: If something happens “without rhyme or reason”, people are said to be quoting Shakespeare’s As You Like It, when Rosalind asks Orlando whether he is as head-over-heels in love as his rhymes suggest, and Orlando replies “Neither rhyme nor reason can express how much”.

The OED traces the phrase back to the 1400s – centuries before Shakespeare. So why do we think it’s Shakespeare’s coinage?

Probably because, as happens so frequently, Shakespeare isn’t the first to think of something, but he presents it in such a clever or memorable way, that it becomes firmly associated with his version.

McInnis also traces the roots of other famous ‘Shakespearean’ phrases like “it’s greek to me”, “a wild goose chase”, “eaten out of house and home”. It’s not all OED ‘bias’ however; the bard did have a knack for coining and popularising turns of phrase, like “to make an ass of oneself”…

To describe behaving stupidly and embarrassing yourself as “making an ass of yourself” seems like a very contemporary expression, but Shakespeare seems to have genuinely invented both the easy-to-quote phrase and a very memorable situation. In A Midsummer Night’s Dream, Bottom the Weaver is magically turned into an ass. Other characters remark upon Bottom’s transformation, but he thinks they’re just mocking him: “This is to make an ass of me, to fright me, if they could.”

See also: Churchillian drift: How great quotations find their way to famous names

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A Turkish typewriter
Use your words

Lessons about language from a Turkish typewriter

What I learned about languages just by looking at a Turkish typewriter, by Marcin Wichary, Design lead & typographer at Medium.

I don’t speak Turkish, and can’t read it either. I have never been to Turkey. I honestly don’t even know that much about Turkey. Why did I ask for a Turkish typewriter, then? Because it has one of the most fascinating keyboard layouts ever.

Some highlights:

  1. We’re not beholden to Q·W·E·R·T·YThe new layout had nothing in common with Q·W·E·R·T·Y. It was ergonomically superior, and measured to be up to twice as fast in typing; Turkey went on to break dozens of world records in typewriting championships before the end of century.
  2. Accented characters aren’t always second-class citizensTo me, this keyboard says “we’re proud of our language and we will treat it with respect.”
  3. Each language has a crazy secret…in Turkish, i gets capitalized to… İ, its tittle still there. But I exists also! And its lowercase form is, you guessed it… ı. Dotted i and dotless ı coexist in perfect harmony, and both have separate keys on the keyboard.
  4. Some of those other languages need to be accommodated alsoLook at the Turkish keyboard. There are three letters, w, x, and q, in a somewhat unusual location: right next to the digits in the top row.
  5. Punctuation is the first to go when sacrifices need to be madeSince backspacing was often physically difficult — welcome to the mechanical world — typewriters invented a certain power user shortcut. To type two characters in one space you would hold the spacebar, press as many characters as needed, and then release the spacebar to move to the next position.

See also: 216 positive emotions that have no direct English translation

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Deathly Hallows emotional arc graph
Use your words

The six basic emotional arcs of storytelling, as revealed by data mining

MIT Technology Review: Scientists at the Computational Story Laboratory have analyzed novels to identify the building blocks of all stories.

Sentiment analysis was used to map the emotional arcs of over 1,700 stories. Then data-mining techniques revealed the most common arcs.

“We find a set of six core trajectories which form the building blocks of complex narratives”

Their method is straightforward. The idea behind sentiment analysis is that words have a positive or negative emotional impact. So words can be a measure of the emotional valence of the text and how it changes from moment to moment. So measuring the shape of the story arc is simply a question of assessing the emotional polarity of a story at each instant and how it changes.

The six basic emotional arcs

The six basic emotional arcs are these:

A steady, ongoing rise in emotional valence, as in a rags-to-riches story such as Alice’s Adventures Underground by Lewis Carroll. A steady ongoing fall in emotional valence, as in a tragedy such as Romeo and Juliet. A fall then a rise, such as the man-in-a-hole story, discussed by Vonnegut. A rise then a fall, such as the Greek myth of Icarus. Rise-fall-rise, such as Cinderella. Fall-rise-fall, such as Oedipus.


Kurt Vonnegut on the Shapes of Stories

Back in 1995, Kurt Vonnegut gave a lecture in which he described his theory about the shapes of stories. In the process, he plotted several examples on a blackboard. “There is no reason why the simple shapes of stories can’t be fed into computers,” he said. “They are beautiful shapes.”

Update: On Scriptnotes episode 259, screenwriters John August and Craig Mazin had a harsh critique of this research:

Mazin: “Of all of these, this one truly is the dumbest. It’s bad science that provides clickbaiters something to say, but it teaches you nothing. It is the emptiest of noise.”

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Gone Girl — Don’t Underestimate the Screenwriter

Michael Tucker: Gone Girl uses classic screenwriting techniques to tell its twisty, modern noir story. This video examines three of the techniques used by screenwriter Gillian Flynn to see how and why they work so well.

Other Lessons from the Screenplay

(via Laughing Squid)

Lessons from the Screenplay

See also: The origins and formatting of modern screenplays

Tim Lomas
Use your words

216 positive emotions that have no direct English translation

Quartz: There are hundreds of positive emotions that have no direct English translation

University of East London psychology lecturer Tim Lomas has corralled some of the most striking non-English words about emotions for Westerners to appreciate. While the words describe phenomena experienced and celebrated by many cultures, no easily-expressible equivalents exist in English.

The paper has two main aims. First, it aims to provide a window onto cultural differences in constructions of well-being, thereby enriching our understanding of well-being. Second, a more ambitious aim is that this lexicon may help expand the emotional vocabulary of English speakers (and indeed speakers of all languages), and consequently enrich their experiences of well-being.

Many of these (like zeitgeist, chutzpa, savoir-faire and nirvana) are in common English usage. I’ve excerpted some of the ones I found most interesting…

Feelings: Positive

  • Se déhancher (French, v.): to sway or wiggle one’s hips (e.g., while dancing).
  • Desbundar (Portuguese, v.): shedding one’s inhibitions in having fun.
  • Feierabend (German, n.): festive mood at the end of a working day.
  • Mbuki-mvuki (Bantu, v): to shed clothes to dance uninhibited.
  • Pretoogjes (Dutch, n.): lit. ‘fun eyes’; the eyes of a chuckling person engaging in benign mischief.
  • Ramé (Balinese, n.): something at once chaotic and joyful.
  • Samar (سمر) (Arabic, v.): to sit together in conversation at sunset/ in the evening.
  • Schnapsidee (German, n.): a daft / ridiculous plan thought up while drunk (generally used pejoratively).
  • Sobremesa (Spanish, n.): when the food has finished but the conversation is still flowing.
  • Sólarfrí (Icelandic, n.): sun holiday, i.e., when workers are granted unexpected time off to enjoy a particularly sunny/warm day.
  • Tertulia (Spanish, n.): a social gathering with literary or artistic overtones.
  • Utepils (Norwegian, n.): a beer that is enjoyed outside (particularly on the first hot day of the year).
  • Mерак (Serbian, n.): pleasure derived from simple joys.
  • Cwtch (Welsh, n.): to hug, a safe welcoming place.
  • Trygghet (Swedish, n.): security, safety, confidence, certainty, trust.
  • Estrenar (Spanish, v.): to use or wear something for the first time.
  • Fjellvant (Norwegian) (adj.): Being accustomed to walk in the mountains.
  • Flâneur (French, n.): someone who wanders the streets to experience the city.
  • Hugfanginn (Icelandic) (adj.): lit. ‘mind-captured’, to be charmed or fascinated by someone/something.
  • Shemomechama (შემომეჭამა) (Georgian, v.): eating past the point of satiety due to sheer enjoyment.
  • Tyvsmake (Norwegian, v.): to taste or eat small pieces of the food when you think nobody is watching, especially when cooking.
  • Kukelure (Norwegian, v.): to sit and ponder, without engaging in activity.
  • Zanshin (残心) (Japanese, n.): a state of relaxed mental alertness (especially in the face of danger or stress).
  • Nirvāna (निर्वाण) (Sanskrit, n.): ‘ultimate’ happiness, total liberation from suffering.
Positive lexicography, by themes

Positive lexicography, by themes

More foreign feelings →

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Movie written by algorithm turns out to be hilarious and intense: Ars is excited to be hosting this online debut of Sunspring, a short science fiction film that’s not entirely what it seems.

Sunspring screenplay sample

Benjamin is an LSTM recurrent neural network, a type of AI that is often used for text recognition. To train Benjamin, [researcher, Ross] Goodwin fed the AI with a corpus of dozens of sci-fi screenplays he found online—mostly movies from the 1980s and 90s.

As the cast gathered around a tiny printer, Benjamin spat out the screenplay, complete with almost impossible stage directions like “He is standing in the stars and sitting on the floor.” Then Sharp [the director] randomly assigned roles to the actors in the room. “As soon as we had a read-through, everyone around the table was laughing their heads off with delight,” Sharp told Ars.

Sunspring

For Sharp, the most interesting part of the Benjamin experiment has been learning about patterns in science fiction storytelling. Benjamin’s writing sounds original, even kooky, but it’s still based on patterns he’s discovered in what humans write. Sharp likes to call the results the “average version” of everything the AI looked at. Certain patterns kept coming up again and again. “There’s an interesting recurring pattern in Sunspring where characters say, ‘No I don’t know what that is. I’m not sure,'” said Goodwin. “They’re questioning the environment, questioning what’s in front of them. There’s a pattern in sci-fi movies of characters trying to understand the environment.”

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Light-based media

Sunspring: a short film written by an algorithm

In the wake of Google’s AI Go victory, filmmaker Oscar Sharp turned to his technologist collaborator Ross Goodwin to build a machine that could write screenplays. They created “Jetson” and fueled him with hundreds of sci-fi TV and movie scripts. Building a team including Thomas Middleditch, star of HBO’s Silicon Valley, they gave themselves 48 hours to shoot and edit whatever Jetson decided to write.

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Use your words

Tip: Guy Kawasaki’s 10/20/30 Rule of PowerPoint

A simple rule that more people giving presentations should follow…

The 10/20/30 Rule of PowerPoint

It’s quite simple: a PowerPoint presentation should have ten slides, last no more than twenty minutes, and contain no font smaller than thirty points.

Guy Kawasaki: The 10/20/30 Rule of PowerPoint

See also

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Pixar – What Makes a Story Relatable

A quick look at Pixar’s approach to storytelling and character development.

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Indie magazines
Craft and creativity

Making a sustainable independent print magazine

Kai Brach is the publisher, editor and designer of Offscreen Magazine. He has written about the lessons he has learned in a comprehensive Medium post: Indie Magonomics

Kai covers everything from sourcing content (“The hard truth is that most indie publications rely on a lot of favours by a lot of generous people”), to printing (“A lot of indies start with 1000–2000 copies. I started with 3000 for my first issue, but it did take me more than a year to sell them all”), to distribution (“Ask anyone who sells physical products and they will tell you that one of the most biggest challenges is getting the product from A to B. Shipping is hard”), and marketing (“…no matter how boring or old-fashioned it seems, email is still the most powerful marketing tool for most online businesses”), and finally, to making moneyContinue reading

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The Freewrite ‘smart typewriter’ with an e-ink display.
A “distraction-free tool for writing composition.”

Astrohaus Freewrite - top

Boing Boing: The $500 price is high, and driven by the device’s high-spec manufacturing: the full-sized mechanical keyboard’s kitted out with Cherry MX switches, and the body of the device is machined aluminum. It weighs four pounds and you carry it by pulling out a recessed handle.

The Freewrite originally launched on Kickstarter (as the ‘Hemingwrite’) and is currently at a special promotional price.

TechCrunch: The FreeWrite will be available today for a 24-hour flash sale at $449, after which the price will increase to $499 through March, with a final MSRP of $549. Shipments will begin this March.

Wired: Freewrite weighs four pounds—about halfway between the weight of the 13- and 15-inch MacBook Pro. But you won’t need to bring the Freewrite’s charger to the coffee shop, because get this: It gets more than four weeks worth of battery life from a single charge.

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Craft and creativity

Freewrite: A ‘smart typewriter’ with an e-ink display

“We are quickly seeing people becoming more disenchanted than ever with the nag of constant consumption,” explains Adam Leeb, cofounder of Freewrite manufacturer Astrohaus. “Everyone, particularly the millennial generation, understands that we now have to fight for our own attention from the outside world. Instead of allowing it to be a general purpose computer, we focused on one purpose, making the best possible writing experience.” — Wired

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Shouf Baba Shouf
Use your words

Unified Arabic: an effort to simplify Arabic letters for printing and to aid literacy

In 1932 Lebanese architect Nasri Khattar developed a simplified Arabic script for printing and to aid literacy:

Unified Arabic (UA) is basically a set of 30 letterforms, one for each letter of the Arabic alphabet, plus hamza and lam alef, eliminating the variant forms that make reading and writing Arabic difficult for beginners.

Shouf Baba Shouf

Sample pages from the children’s book ‘Shouf Baba Shouf’. The UA forms are placed next to the traditional ones for direct comparison and learning.

The large number of Arabic letter variants made typing Arabic immensely complicated. Khattar realised that matters could be greatly simplified by distilling the hundreds of variant shapes into their most characteristic forms. The letters are designed to be representative of the streamlined spirit of Western civilisation: quick, mechanised and labour saving, similar to Latin type forms and proportions, which Khattar acknowledged as one of his inspirations.

In 1986, Nasri Khattar was nominated for the Nobel Peace Prize for his lifelong Unified Arabic project and its implications for the fields of linguistics, literacy, printing, computers, and telecommunications. He was probably the only designer / typographer considered for the prestigious award.

In one sense, new technologies made Unified Arabic obsolete before it could overcome the massive obstacles opposing its adoption. But from another point of view, the issues that led to its development still demand resolution.

Fighting Illiteracy With Typography by Yara Khoury Nammour (via).

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The Origins and Formatting of Modern Screenplays

Filmmaker IQ: Screenwriting isn’t easy. Great story telling requires craft and insight – but it all starts with getting the proper formatting. Trace the roots of how the screenplay evolved from the earliest moving pictures, through the golden age of Hollywood and into the post-studio era.

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Tolkien’s annotated map of Middle-earth discovered

The Guardian: A recently discovered map of Middle-earth annotated by JRR Tolkien reveals The Lord of the Rings author’s observation that Hobbiton is on the same latitude as Oxford, and implies that the Italian city of Ravenna could be the inspiration behind the fictional city of Minas Tirith.

CityLab: The map could have easily been lost forever, having slipped out of an old edition of The Lord of the Rings belonging to the late famed illustrator Pauline Baynes. Baynes had been using the map to work on her own full-color poster edition of Middle-earth for Tolkien, who in turn, gave her precise and copious notes on the same document.

Also: See the Sketches J.R.R. Tolkien Used to Build Middle-Earth in the new The Art of The Lord of the Rings book.

Craft and creativity

Tolkien’s annotated map of Middle-earth discovered

The novelist also uses Belgrade, Cyprus, and Jerusalem as other reference points, and according to Blackwell’s suggests that “the city of Ravenna is the inspiration behind Minas Tirith – a key location in the third book of the Lord of The Rings trilogy”. — The Guardian

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See the Sketches J.R.R. Tolkien Used to Build Middle-Earth

Wired: The key lesson of The Art of The Lord of the Rings is this:
We forget that it’s not only filmmakers who need to translate words into pictures.

Tolkien was an endless reviser. “Earliest map of the Shire” reveals his creative recycling. Pencil lines have been overlaid with blue and red ink. Dashed and dotted lines represent Frodo, Sam, and Pippin’s route, or the boundaries of features like The Old Forest. In light pencil, upper right, “Elves” are added with a circle. Nomenclature changes; Tolkien gives “Puddifoot” a new name: “Maggot.” The detailed maps printed in their finished form in Lord of the Rings help readers get their bearings. But as drafts, they must have helped Tolkien, too. “The ‘First Map’ of Middle-earth” was Tolkien’s master reference map; over the years, he glued new sheets on top of old ones as his story grew and changed in the telling.

See also

Craft and creativity

The sketches J.R.R. Tolkien used to build Middle-Earth

“For Tolkien, the art of writing and the art of drawing were inextricably intertwined. In the book ‘The Art of The Lord of the Rings’, we see how, and why.” — Wired

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The Hero’s Journey

Iskander Krayenbosch:

Since the beginning of time people are fascinated by stories of hero’s. But did you know there is a fundamental structure that’s lies beneath all these tales of fantasy. Joseph Campbell, a famous mythologist, was the first to discover similarities within all ancient myths. He called it the Monomyth. According to him there are 17 stages in which every hero has to walk through one way or the other. In the hero’s journey 12 of these stages are visualized by using iconic blockbuster movies that follow the same structure of storytelling.

Continue reading

Every Frame a Painting: Chuck Jones

Tony Zhou: If you grew up watching Looney Tunes, then you know Chuck Jones, one of all-time masters of visual comedy. Normally I would talk about his ingenious framing and timing, but not today. Instead, I’d like to explore the evolution of his sensibilities as an artist.


Chuck Jones’ rules for writing Road Runner cartoons

In his book Chuck Amuck: The Life and Times of an Animated Cartoonist, Chuck Jones claimed that he and the artists behind the Road Runner and Wile E. cartoons adhered to some simple but strict rules:

  1. The Road Runner cannot harm the Coyote except by going “meep, meep!”
  2. No outside force can harm the Coyote — only his own ineptitude or the failure of Acme products. Trains and trucks were the exception from time to time.
  3. The Coyote could stop anytime — if he were not a fanatic. (“A fanatic is one who redoubles his effort when he has forgotten his aim.” — George Santayana).
  4. No dialogue ever, except “meep, meep” and yowling in pain.
  5. The Road Runner must stay on the road — for no other reason than that he’s a roadrunner.
  6. All action must be confined to the natural environment of the two characters — the southwest American desert.
  7. All tools, weapons, or mechanical conveniences must be obtained from the Acme Corporation.
  8. Whenever possible, make gravity the Coyote’s greatest enemy.
  9. The Coyote is always more humiliated than harmed by his failures.
  10. The audience’s sympathy must remain with the Coyote.
  11. The Coyote is not allowed to catch or eat the Road Runner.

However, in an interview years after the series was made writer Michael Maltese said he had never heard of these ‘rules’.

(via kottke.org, though it’s interesting to note that the wording varies quite a bit depending on where you find this list, like Mental Floss, Open Culture and Wikipedia.)

David Ogilvy
Use your words

David Ogilvy: “How to Write”

A memo sent out by David Ogilvy to everyone at Ogilvy & Mather on September 7th, 1982:


The better you write, the higher you go in Ogilvy & Mather. People who think well, write well.

Woolly minded people write woolly memos, woolly letters and woolly speeches.

Good writing is not a natural gift. You have to learn to write well. Here are 10 hints:

  1. Read the Roman-Raphaelson book on writing. Read it three times.
  2. Write the way you talk. Naturally.
  3. Use short words, short sentences and short paragraphs.
  4. Never use jargon words like reconceptualize, demassification, attitudinally, judgmentally. They are hallmarks of a pretentious ass.
  5. Never write more than two pages on any subject.
  6. Check your quotations.
  7. Never send a letter or a memo on the day you write it. Read it aloud the next morning—and then edit it.
  8. If it is something important, get a colleague to improve it.
  9. Before you send your letter or your memo, make sure it is crystal clear what you want the recipient to do.
  10. If you want ACTION, don’t write. Go and tell the guy what you want.

(via Boing Boing / Open Culture)

More like this: Posts tagged writing.

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BuzzFeed
Use your words

The BuzzFeed editorial style guide

Editorial style guides fascinate me, and the BuzzFeed style guide makes for an interesting browse. The word list in particular provides a brilliant snapshot of Internet popular culture as it stands in 2015.

Don’t hyphenate blow job, but do hyphenate butt-dial. Uppercase TARDIS but a subreddit is a lowercase place. T. rex, but T. Swift. Make sure to capitalise Apple Store (and most brands) but you can leave the exclamation mark off of Yahoo.

See also: The BuzzFeed Editorial Standards And Ethics Guide

The BuzzFeed style guide word list →

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Use your words

Tip: Avoid using filter words in your writing

Suzannah Windsor Freeman:

Filter words are those that unnecessarily filter the reader’s experience through a character’s point of view.

For example:

Sarah felt a sinking feeling as she realized she’d forgotten her purse back at the cafe across the street. She saw cars filing past, their bumpers end-to-end. She heard the impatient honk of horns and wondered how she could quickly cross the busy road before someone took off with her bag. But the traffic seemed impenetrable, and she decided to run to the intersection at the end of the block.

Eliminating the bolded words removes the filters that distances us, the readers, from this character’s experience:

Sarah’s stomach sank. Her purse—she’d forgotten it back at the cafe across the street. Cars filed past, their bumpers end-to-end. Horns honked impatiently. Could she make it across the road before someone took off with her bag? She ran past the impenetrable stream of traffic, toward the intersection at the end of the block.

Are These Filter Words Weakening Your Fiction?

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Microscope
Use your words

Fantasy worlds that break history’s back

Katherine Cross writing for Boing Boing’s new gaming blog Offword about Microscope, “a fractal role-playing game of epic histories” created by Ben Robbins.

The three concentric circles that form Microscope’s logo are perhaps the simplest description of the game. You begin by bookending the history you wish to explore, defining the limits between, say, cavepeople and interstellar colonisation, or something more focused like the founding of a religion and its ultimate schism. Once set, players take turns being “lenses” who set the focus for a given round of play, say a specific era in that history or a specific point in time, person, or event. During this round, every other player takes turns adding something to the setting and its history. The main rule is that they cannot contradict anything already established.

The game emphasizes the crisp spontaneity that emerges when time has no meaning for you. You can, at your leisure, wander through history filling in the blanks as you go. You can nuke a city and then travel back 5000 years to paint in all its little details for the rest of the evening, or travel forward in time to when the city is rebuilt. Only when the lens zooms in on a specific moment in time where character interaction is involved does everyone come together to roleplay a given scene. Here the microscope lens is at maximum magnification: You take a historical moment, say the assassination of an empress, and act it out in detail, explaining what happened and why.

The game forces you to answer that crucial question, why, again and again, and this is where it chisels away at tropes.
Fantasy worlds that break history’s back

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