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lyralit · 2 years
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ingrid sundberg's colour dictionary - writing help
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ms-moonlight-inn · 6 days
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Plot structure resource, written by Ingrid Sundberg.
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rgf-scenarios · 5 months
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Ingrid Sundberg, Archplot Structure
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jezabatlovesbats · 1 year
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I forgot where I first saw this, but here’s a helpful tool for if you need to describe the specific shades of a color in your writing, or something other than that.
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harasnicole · 5 years
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Covers are deceiving.
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mtr-amg · 7 years
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Ingrid's Notes is a creative writing community and novel-writing resource created by young adult author and writing mentor Ingrid Sundberg. Ingrid's Notes is dedicated to helping authors write the best book they possibly can. A writer is an unstoppable force when they discover the courage to write honestly, the conviction to stand behind their work, and the certainty that their voice matters. Ingrid's Notes believes that writing is an absolute blast and the creative life is lived right now, every day. We believe in digging deeply into writing craft, honoring the process, and remaking the world with our words. (via https://www.youtube.com/watch?v=u_8mcXOGXmw)
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Hello! You were incredibly helpful with my last ask, so thank you! I’ve already watched a few of the assassin/protection movies you recommended, and they’ve been FANTASTIC references, so thank you enormously for that help!! And I’m actually back with another question for you now! :) And if you’ve already answered this at some point in the past, please feel free to link me to any relevant replies!
Essentially, I’m struggling with determining what my plot points should be. I know the theory of plot structure inside and out, and I have a general idea of my story’s external conflict, I have my theme and overall idea of what the story is “about” emotionally.
But how I can figure out what specific plot points are relevant to my conflict and theme? I can’t for the life of me figure out how to apply it to my own story. How do I know if a plot event is the right one? (Coincidentally, I’m also very much struggling with determining a satisfying and relevant climax event…)
You gave me some leading questions last time that helped me build it up a bit, but I’m wondering more at the structure of everything than specifically to my story. Is it that the event teaches the character the theme/lesson to complete their internal arc? Or should the events be directly and more obviously related to the theme? I guess an example of what I mean is like, if the theme/moral is “love heals all wounds,” should each event just teach the character that lesson somehow, even indirectly? Or should it actually be shown to be *about* ‘love healing all wounds’?
As always, any advice is exceptionally appreciated!! Thank you so much for running this blog, and for all the effort you put in, you’re the best! 😊💕
Feeling Overwhelmed by Plot Points
Okay, first, deeeep breaths!!! ♥
Honestly, it sounds like you're overthinking things. A lot. So let me see if I can pull you out of the spiral. :)
Plot points are just key events in your story... they're the major things that have to happen in order to move the story from beginning to end. Most mainstream/genre novels (and sometimes literary) follow the same general map of plot points. Some stories may omit a plot point or two, or do them out of order, but most will map out the same.
There are many different models or theories of story structure... and that's where things tend to get confusing for newer writers. It started with Joseph Campbell's definition of the Hero's Journey in 1949. This is where we get the basic plot points from, like "the call to adventure" and "the crossing of the first threshold."
Over the years, different people have come up with their own versions of this structure by adding, removing, renaming, and redefining the plot points. Wikipedia's entry on the Hero's Journey has a chart that illustrates the beginning of this evolution:
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These days you can find a million different story structure models/theories. Just to name a few: Save the Cat! Writes a Novel, Larry Brooks' Story Structure, Dramatica, the 5 Cs, Michael Hague, W-plot... it's easy to get overwhelmed.
But, at the end of the day, the plot points in these variations still serve the same general function... even if their name, exact function, or precise placement is a little different from one model to the next.
Nowhere have I seen this better illustrated than in this graphic created by writer Ingrid Sundberg:
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Here you can see each of the plot points and some of their different names, and you can see they're all in the same general place and provide the same general function. If your "crossing the first threshold" moment is a "point of no return" situation, where the character has literally no choice but to move forward, that would obviously play out a bit differently than if it was a "committing to the goal" moment, where the character chooses to move forward because they know what they want and what they need to do to get it. But, in both cases, that's still the moment in the story where your character "crosses the threshold" from their ordinary world to the world brought on by the inciting incident.
Before worrying about plot points, you need to flesh out your story's conflict. You say you have a "general idea" but that's too vague. You need to know exactly what the conflict is, what's causing it, how it affects your protagonist, the stakes it creates, and how that either causes or is caused by your protagonist's goal, and what motivates them to reach that goal. You also need to understand who or what the antagonist/antagonistic force is and why they or it is creating obstacles for your protagonist and what those obstacles are. If your antagonist is a sentient being/entity, you need to understand their motivation and goal as well.
Figuring out how your story's conflict translates into plot points is really as simple as looking at different models (different plot point definitions like the ones shown on Ingrid Sundberg's graphic) and figure out if and how they work in your story. Let's say you're writing a story about two sisters who are separated across time and space, but their bond remains strong regardless. So, what kind of "call to adventure" moment do we want here? Both "call to adventure" and "call to action" imply some sort of choice, but what if these sisters aren't separated by choice? What if something happens and that event is what threatens to separate them? So, we can think of the "call to adventure" moment simply as "the inciting incident" or even "the catalyst" because it's something that happens, not really a choice. Next: "the refusal of the call" moment. Well, once again, there's not really a call to refuse, no debate to be had. But "separation" is a pretty good "defining moment," so the moment that actually separates them is going to be that plot point. It's not quite the same as a debate and refusal, but it does the same thing. It's a new situation that forces their hand.
On to some of your specific questions:
1) Is it that the event teaches the character the theme/lesson to complete their internal arc? Your character's internal arc will change gradually from the inciting incident to the climax. The climax is usually your character's opportunity to illustrate what they've learned, how they've changed, etc.
2) Or should the events be directly and more obviously related to the theme? Your story's theme/message isn't going to create or guide the events of your story. They might define what needs to happen in some of them, but that's it. Your story's theme/message is essentially what you're trying to say with your story's central idea. If your story's central idea is two sisters are separated across space and time but their bond stays strong regardless, your story's themes will be things like sisterhood, grief, and maybe guilt. Your story's message will be something like "sisterhood is a bond that can withstand anything."
3) Should each event just teach the character that lesson somehow, even indirectly? Again, the events themselves won't be dictated by the lesson/theme/message. Some of the time, those themes occur organically from the natural events of the story. For example, if the sisters are separated because one was in hiding and their mutual friend betrayed her hiding place to an evil wizard who kidnapped her and locked her in a tower, then an obvious plot point would be the moment of betrayal (inciting incident), and another would be the moment the wizard kidnaps the sister (separation/new situation), and some very natural themes start to emerge. Grief (the sister is gone), anger (at the betrayer), and guilt (why did I trust the friend?) primarily. And, as you can see, none of this has a lot to do with the message "sisterhood is the strongest bond," but many of these moments (the kidnapping, being separated, finding a way back to each other) will play a role in building up to that message. If the protagonist/sister #1 has to choose between saving her sister or enacting revenge on the betrayer, that right there is a pretty big test of the sisterhood bond. Does she choose herself (fulfilling her need to get revenge) or does she choose her sister (ignoring her urge to get revenge and do the work to find her instead.)
Bottom line: sometimes you just have to write the first draft and see where it goes. Some people like to plot and plan. Some people like to wing it. Some people like to do something in between. Some people change depending on the project. But even if you prefer to plan, sometimes you just have to get as many of your ducks in a row as possible and then just start writing... see what happens. Your first draft isn't going to be perfect anyway (first drafts never are), so you might as well take some time to explore the possibilities, try things out, see what works and what doesn't. By the end of your first draft, you might have a much clearer picture of what the story is, what events need to happen to carry the story from beginning to end, and how your story's themes and message play out over the course of the story.
Best of luck to you!!! ♥
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cgfrogindia · 7 years
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It's Bubblegum Not Dark Pink, Name Correctly of Any Imaginable Color Shades
More » http://cgfrog.com/name-any-color-imaginable-with-this-color-thesaurus/
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colour words! (2/2)
found here. intended for writers, this is especially helpful when i write cathartic colours. big thanks to ingrid sundberg’s colour thesaurus!!
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lyralit · 1 year
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I posted 412 times in 2022
That's 412 more posts than 2021!
269 posts created (65%)
143 posts reblogged (35%)
Blogs I reblogged the most:
@lyralit
@mr-writes
@thelatinlibrarian
@annarts05
@riverselkiesing
I tagged 363 of my posts in 2022
Only 12% of my posts had no tags
#lyralit - 162 posts
#writerblr - 156 posts
#creative writing - 146 posts
#writers - 138 posts
#writing - 130 posts
#writblr - 128 posts
#writers block - 123 posts
#writing prompts - 117 posts
#writing ideas - 109 posts
#lovely person <3 - 96 posts
Longest Tag: 100 characters
#the streets of beijing spilled over with wandering crowds at one of their dynasty’s first victories.
My Top Posts in 2022:
#5
traits turned sour
honest - insensitive
persuasive - manipulative
caring - overprotective
confidence - arrogance
fearless - cocky
loyalty - an excuse
devotion - obsession
agreeable - lazy
perfectionism - insatisfaction
reserved - aloof
cautious - skeptical
self loved - selfish
available - distractible
emotional - dramatic
humble - attention-seeking
diligent - imposing
dutiful - submissive
assertive - bossy
strategic - calculated
truthful - cruel
11,626 notes - Posted November 20, 2022
#4
ingrid sundberg's colour dictionary - writing help
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See the full post
13,656 notes - Posted May 7, 2022
#3
switch up your verbs (part one) ~
walked - hiked - moved - shuffled - toddled - sauntered - ambled - tiptoed - meandered - strolled
laughed - chortled - chuckled - giggled - snorted - guffawed - howled - snickered - shrieked
wanted - ached for - wished - craved - coveted - fancied - pined - aspired
ran - sprinted - galloped - scampered - bolted - trotted - dashed - raced - jogged
jumped - bounced - hopped - leapt - hurtled - vaulted - barged - bounded
14,902 notes - Posted June 24, 2022
#2
ꜱʜᴏᴡ, ᴅᴏɴ'ᴛ ᴛᴇʟʟ (ɪɪ)
fear - open mouth - backing away - fake smiles - hugging themselves - long / dragged breaths - rocking
jealousy - snide remarks - darting looks - self-deprication - visible judging - folded arms - arguing a fair point
hurt - steadying breaths - overly bobbing head - teary - anger - trembling - pressed lips - insisting everything is 'fine'
lying (ticks) - picking at nails - touching hair - licking lips - laughing too loud - avoids subjects - won't meet eyes
worry - reaching out physically - pursing lips - looking to others - reassuring smiles - looking you up and down - tilted head - sympathetic nod
shame - will not meet eyes - feet turned away - teary - desperate - fidgeting - begging
humiliation - lashes back - cheeks flush - palms turn sweaty - face frowns -> brows scrunch, lips pull back - teary
love - looks for approval - blushing / turning red - clammy palms - nervous around certain people - laughs hard - turning clumsy - slip of thought
15,491 notes - Posted July 8, 2022
My #1 post of 2022
show, don't tell:
anticipation - bouncing legs - darting eyes - breathing deeply - useless / mindless tasks - eyes on the clock - checking and re-checking
frustration - grumbling - heavy footsteps - hot flush - narrowed eyes - pointing fingers - pacing / stomping
sadness - eyes filling up with tears - blinking quickly - hiccuped breaths - face turned away - red / burning cheeks - short sentences with gulps
happiness - smiling / cheeks hurting - animated - chest hurts from laughing - rapid movements - eye contact - quick speaking
boredom - complaining - sighing - grumbling - pacing - leg bouncing - picking at nails
fear - quick heartbeat - shaking / clammy hands - pinching self - tuck away - closing eyes - clenched hands
disappointment - no eye contact - hard swallow - clenched hands - tears, occasionally - mhm-hmm
tiredness - spacing out - eyes closing - nodding head absently - long sighs - no eye contact - grim smile
confidence - prolonged eye contact - appreciates instead of apologizing - active listening - shoulders back - micro reactions
38,932 notes - Posted June 20, 2022
Get your Tumblr 2022 Year in Review →
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mywritinghoard · 7 years
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Source.
Color Thesaurus by Ingrid Sundberg. [Part 2]
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elaine-white-author · 5 years
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Share-It Sunday: Colour Thesaurus
Share-It Sunday: Colour Thesaurus
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Original post: Bored Panda
Writer Creates “Color Thesaurus” To Help You Correctly Name Any Color Imaginable
Julija Nėjė BoredPanda staff
Ingrid Sundberg, a writer and children’s book illustrator, created a very useful infographic chart for anyone struggling with color names. The writer says that she loves to collect words that can help give her stories variety and depth.
“I’ve…
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writinggeisha · 5 years
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kattahj · 7 years
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On Shadowhunters and Swedish names
The notion of Shadowhunter names is so funny to me, the way they always consist of two parts: Lightwood, Herondale, Blackthorn, Fairchild and so on.
Now I suspect it's in parallell to Jewish German names, but it also encompasses, like, half of Sweden.
Ingmar Bergman? Shadowhunter. Ingrid Bergman, the same. Astrid Lindgren (and Pippi Longstocking). Stellan Skarsgård and the whole Skarsgård clan. Selma Lagerlöf, August Strindberg, Vilhelm Moberg, and Carl Jonas Love Almqvist. Hjalmar Söderberg, Hjalmar Bergman, and Hjalmar Gullberg. Agnetha Fältskog (and Anni-Frid Lyngstad but she's Norwegian). Anita Ekberg, Britt Ekland and both of the Gösta Ekmans (along with Hasse). Malin Åkerman, Dolph Lundgren, Michael Nyqvist, and Mikael Persbrandt. Bruno Liljefors and Sven Nordqvist. Anton Niklas Sundberg, Nathan Söderblom, and Emanuel Swedenborg. Lasse Hallström, Vilgot Sjöman and Victor Sjöström. Dag Hammarskjöld and Raoul Wallenberg. Malena Ernman and Måns Zelmerlöw. Karl Birger Blomdahl and  Carl Michael Bellman. If we count non-Swedish names of Swedish celebrities, there’s also Cornelis Vreeswijk (Dutch) and of course Ingvar Kamprad (German).
And oh so very many more...
Sweden is brimming over with Shadowhunters. Sadly I'm not one of them. (But my mother is, and so was my grandmother.)
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ksbrooks · 4 years
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Should I Write My Book in First Person?
My advice for most writers; if First Person doesn’t suit your writing style, your story and your genre, don’t use it.
If you want a good rundown on positive reasons, look at Ingrid Sundberg’s five-point analysis; all five are valid. Her next post is “Six Limitations of the First Person POV.” Read that one, too.
 But It’s Easy
Yes, deceptively easy. As in, easy to do, hard to do well. In fact,…
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fraguelworld-blog · 5 years
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PIPPI LANGSTRUMP (Serie). Pippi Calzaslargas (Pippi Långstrump en su título original en sueco), (Pippi Calzaslargas en España, Pipi Calzaslargas, Pipa Mediaslargas, Pippi Mediaslargas y ocasionalmente Pepita Mediaslargas en Hispanoamérica). Es un personaje literario creado por la escritora sueca Astrid Lindgren. fue una serie de televisión de 1969 basada en las aventuras de Pippi, niña protagonista de las novelas de la escritora sueca Astrid Lindgren. La serie se rodó en 1968 y consta de trece capítulos, el primero de ellos se emitió en la televisión sueca canal SVT el 8 de febrero de 1969. Todos los capítulos de la serie están rodados en la isla de Gotland (Suecia) la mayor isla del Mar Báltico. La protagonista Pippi Calzaslargas está interpretada por la actriz sueca Inger Nilsson (1959-). La serie fue un éxito mundial. Descripción. Su nombre completo es Pippilotta Viktualia Rullgardina Krusmynta Efraimsdotter Långstrump (Hija de Efraim Långstrump). Está dotada de una gran fuerza y, reflejando el extraordinario amor de la autora Astrid Lindgren por los animales, posee un caballo a lunares llamado "Pequeño tío" (Lilla gubben, o sea, "Muchachito") y un mono tití llamado "Señor Nilsson". Es huérfana de madre, y su padre, Efraim Långstrump, es un pirata, rey de los congoleses. Pippi vive en su casa llamada Villa Kunterbunt, (en el original sueco, Villa Villekulla), acompañada únicamente de sus mascotas. Es característico su cabello rojo, peinado en dos trenzas levantadas hacia arriba por espíritu de contradicción. Es una niña imaginativa y rebelde ante todo convencionalismo: suele cocinar crepes sobre el suelo, caminar hacia atrás, o dormir con sus pies sobre la almohada; lleva un vestido cosido a retazos, unos zapatos que le vienen grandes, y calza unas medias por encima de las rodillas, de donde le viene su nombre. Aunque tiene sólo nueve años, es la niña más fuerte del mundo, incluso más que cualquier hombre, ya que puede levantar a su caballo con una sola mano. También puede hacer la limpieza con gran velocidad. Tiene dos amigos, Tommy y Annika, que le acompañan en sus aventuras. Cuando limpia su casa suele lavarse los pies antes y con el barreño del agua lo derrama y se pone unos pequeños cepillos en los pies.. Creación del personaje. Astrid Lindgren comenzó la historia de Pippi en el invierno de 1941, cuando su hija de siete años se encontraba en la cama enferma de los pulmones, y le pidió que le contara un cuento. Lindgren se inventó así una historia muy fantasiosa, que posteriormente no sólo escucharía su hija, sino también los amigos de ésta. Dos años después, Lindgren se fracturó una pierna y comenzó a escribir el cuento, cuyo manuscrito le obsequió a su hija como regalo por su décimo aniversario. Lindgren envió el manuscrito a la editorial Bonniers, pero ésta lo rechazó. En 1945 decidió participar con su historia en el concurso literario convocado por la editorial Rabén & Sjögren, donde obtuvo el primer lugar. A partir de entonces el libro alcanza gran éxito y llegaría a ser traducido a aproximadamente 70 idiomas. Los libros de Pippi son ilustrados por Ingrid Vang Nyman. Reparto. Pippi Calzaslargas - Inger Nilsson (1959) Bonnie Settergren - Maria Persson (1959) Clyde Settergren - Pär Sundberg (1957) Miss Prysselius - Margot Trooger (1923-1994 a los 70) Policía Kling - Ulf G. Johnsson (1929) Policía Klang - Göthe Grefbo (1921-1991 a los 69) Dunder-Karlsson (ladrón) - Hans Clarin (1929-2005 a los 75) Blom (ladrón) - Paul Esser (1913-1988 a los 74) Señora Settergren - Öllegård Wellton (1932-1991 a los 59) Señor Settergren - Fredrik Ohlsson (1931) Efraim Langstrump (padre Pippi) - Beppe Wolgers (1928-1986 a los 57).
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