33

Character driven is typically about life changes (or life ending) for a character, basically the character(s) undergo some kind of deep emotional transformation that is life-changing. Becoming a sexualized adult, breaking out of an abusive relationship, losing a child or parent. However, in the process of this, the world and society and people are not really ...


24

Writers Should Disappear The work of a writer is to disappear. In the best writing the reader does not even notice that there is a "writer at work". When I first read that word, I read it as Cut-ease. I thought it was going to mean something like making a cut easier. It made me pause. When I paused to think about it, I started wondering what the writer ...


24

The trope you are thinking of is called Death in the Limelight. Briefly, an episode or issue that suddenly focuses on a character specifically because they're going to die at the end (or fairly close to the end). Usually this is a relatively minor recurring character, or someone who technically is in the main cast but never had a Backstory or much in the ...


20

I believe in this case, a 'sounding board' fits the bill, simply a person to bounce concepts, dialogue, and ideas off of. Just how some characters act as nought but mouthpieces, this one acts as nothing but an earpiece.


18

There is indeed such a term. Phil Farrand of The Nitpicker's Guide to Star Trek called this "being the cabbagehead." Certain information had to be revealed to the audience, but it was information which the characters would reasonably already know. So the writers picked someone in the room to be the "cabbagehead," meaning someone developed the I.Q. of a ...


18

Arena driven story: A man crashes his airplane in the desert, breaking his leg. His radio doesn't work. If he stays there he will die. He splints his leg, takes all the water he can carry, and tries to walk out. Or make it a man and woman, in the arctic. Make it Tom Hanks in Castaway; he is stranded alone on an island and wants to return to civilization. Or ...


16

Your example is an anatopism, just as everyone speaking Latin would be an anachronism. But more generally, I think you're interested in incongruities.


13

The technical term I have heard in writing is resonance. In psychology, we would call it priming of the audience. As you say, it isn't exactly foreshadowing, but it puts an image into the reader/viewer mind, perhaps even subconsciously, so her metaphor a little later seems more significant than if it stood on its own. It seems more apropos, as if she ...


12

Plot-driven vs character-driven is a spectrum rather than a dichotomy. But generally speaking, character-driven means that the plot is primarily guided by characters reacting to other characters, while plot-driven (or event-driven might be a better term) means that the plot is primarily guided by character reactions to external events.


12

A newly coined word is more likely not to be understood by your readers. Consider: your readers might not hang out in the particular circle where the word was coined and is known. In effect, such a word is not different from a dialect word that's only likely to be understood in a specific city or state. There are even words that would only be understood in, ...


11

The reference is to buying out of a publisher's exclusivity clause, in order to regain the rights required to republish your own work elsewhere. Writers often refer to "getting your rights back" for the time frame for this clause to expire (it's commonly a year from date of publication). There is sometimes (often?) a "penalty clause" that effectively ...


11

I think that's what TV Tropes would call a meaningful echo, but I'm unaware of a technical term. They usually state one if it exists.


11

I think more than one term would apply here. From wiktionary, flashforward (plural flashforwards). A dramatic device in which a future event is inserted into the normal chronological flow of a narrative. This certainly applies, though as with flashback it suggests that you might experience a brief scene. I would argue that these sentences contain a ...


10

As somewhat alluded to by Chenmunka, if your documentation is generally in the context of a specific programming language and/or compiler, it is probably best to stick to what is required by those. However, I think this is also somewhat dependent on why the numbers are appearing in your documentation. If you are referencing these numbers as something would ...


10

There is no problem in using new (or even non-existent) words in your story. However... Writers do this all the time. It is part of the experience to develop a larger vocabulary. But when we learn a new word that we want to use, it is our task to try not to disturb the reader too much by making him interrupt the story and look for the word in a dictionary. ...


10

I'd go with inconsistency; to be even more specific, I'd say the worldbuilding is not consistent or poor. I second J.G. in saying that you're interested in inconguities at large.


10

I don't believe there is a single term for this kind of character. The terms usually applied to those characters roll in relation to the protagonist are Foil, Confidante, and stooge -- or as I call them Chumley. The Foil serves to highlight the protagonist's qualities and make them stand out stronger by the comparison. The Confidante permits deeper ...


10

The term for this person is the interlocutor, from the Latin. It means the one who "speaks between," and often used for a character in a dialog --for example, the Platonic dialogs --whose role is secondary to the main speaker. https://www.merriam-webster.com/dictionary/interlocutor If the person only asks questions, you could also call them the querent.


10

I would say Rewatch Bonus or The Ending Changes Everything. As a discovery writer, I often don't know my ending until I have written 50% or even 70% of my first draft. So when I am done I actually go back through and look for moments in which I can rewrite a scene for foreshadowing, or add Rewatch Bonuses, sometimes just by modifying dialogue or adding an ...


9

According to the tvtropes entry for The Watson, The Watson is the character whose job it is to ask the same questions the audience must be asking and let other characters explain what's going on. A sidekick sometimes acts in this role. According to wikipedia, Sidekicks can provide one or multiple functions, such as a counterpoint to the hero, an ...


9

In Medias Res: in the middle of things. What you're referring to isn't commonly done (that is to say, starting your story at the climax or at the end of the story). That doesn't mean it isn't done, just not commonly. So. Let's tease this apart somewhat. In Medias Res typically starts the story in the action (not the climax, but simply action). The reason ...


9

How do you handle, the introduction of a concept and its use? There are many ways to do this. Generally, you don't introduce it at all, you just have a character (or, say, a sign or something on a meditation center) state the concept. Then you have somebody that is clueless about what it means ask about it, and somebody explain it, in the same simplistic ...


8

A "draft" is one complete pass-through of writing a piece (an article, blog post, short story, novella, novel, etc.). Your "first draft" is generally considered the first time you commit the entire thing to paper (or pixels), from beginning to end. After that, you can measure subsequent drafts or rounds however you like. It's reasonable to divide them as ...


8

The part of a book that comes between the prologue and the epilogue is normally called "the story"! Ok, I take it you mean you have some explanatory material that you want to put in the middle, that is not part of the story itself? Perhaps "interlude" is what you are looking for.


8

In the context of experiencing a story, character-driven and plot-driven mean very little. It is only during the writing process that these terms have any importance. In a character-driven story, as the name suggests, the characters literally drive the story. The central character or characters have the autonomy to decide how their story progresses, and ...


8

Just redefining a word from everyday usage is rarely good. People will always first associate it with their real-life usage. Maybe switch around a few letters to make it a new "fantasy" word. About defining the term and the POV: that's really up to you and the POV you are already using. Some authors prefer to just mention the word often in the beginning ...


7

Edit warning: I seem to have upset my sister (who also writes) so I've added more detail to no.2. This question has been troubling me for a week now. I met the terms - plotter / planner and pantser / discoverer - rather recently and I took an immediate dislike to their radicalism. Therefore, I ignored them. Now, @what's question has forced me to think ...


6

The answer depends on the work's intent. If the characters are thinly characterized and stereotyped because the work's main attraction is a sensationalist plot crammed with dramatic events, then we call this a melodrama. Wikipedia reports that a Professor Ben Singer has identified "moral polarization" as one of the key elements of melodrama. On the other ...


6

The method of laying out ideas in the form of a dialogue where both speakers are written by one author is called dialectic. It has its roots in philosophy and has wide application. What you're describing sounds like a very poor example of this technique. It uses the form of the dialectic method, but the content is more akin to the FAQ on a commercial ...


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