Content Structure for Flash Fiction has never been so simple and fast. What if all story ideas were able to be boiled down to a single formula? Wycliffe A. Hill had this idea in the 1930's when no less than Cecil B. DeMille rejected one of his stories because ""it had a good narrative, but no drama."" This led Hill to research what made a dramatic story. Diving into the problem that the growing movie industry had for volume treatments to feed their industry, Hill created a device to harvest these many different possibilities for plot creation. The original ""Genie"" he produced was to explore the idea of a formulaic basis for stories. For Flash Fiction, the work is even more daunting, as it's not a question of filling in more conflict, action, or romance by adding words. The object of this book is more for education of the author in the basics of how to string a plot together, and maybe a solution to any ""writer's block."" Win the day. Get Your Copy Now.

How to Build Plots That Grab Your Readers and Won't Let Go - By Building and Integrating Characters, Story Arcs, and Engaging Themes Ever wonder what makes a great book or movie different from a pitiful excuse for entertainment? Mostly, it starts with a plot. But what makes a plot work? From months of my own studying the vast numbers of approaches to plotting, it's clear that there is still a wide gulf between the mechanics of a plot and having a working framework usable for any writer. This led to the study of two authors who had already done their own studies of which plots made successful entertainment, and actually built their own still-popular plot generators based on this knowledge. Many well-known and obscure writers have used these methods instead of being dogged by ""writer's block."" The anwers to what makes a great plot are simple and few. The bonus in this book is giving you your own plot generator to help you when you're stuck. Get Your Copy Today.

Escape Writer's Block and Generate Original Content Structure in Minutes Using the 31 Basic Dramatic Situations Common To All Fiction Stories Content Structure for Dramatic Fiction has never been so simple and fast. What if all story ideas were able to be boiled down to a single formula? Wycliffe A. Hill had this idea in the 1930's when no less than Cecil B. DeMille rejected one of his stories because ""it had a good narrative, but no drama."" This led Hill to research that lead creating a ""genie"" to bring new possibilities to authors. To inspire combinations they have never though of before. Reviews tell of writers breaking through their Writer's Block to find new inspiration for plots they had never imagined before. Hill notes that unfortunately, most stories tend to fall into paths other stories already travelled. This ""Genie"" enables fresh, new combinations of characters, obstacles, and climaxes never before seen on print or in movies. Get Your Copy Now.

Content Structure for Flash Fiction has never been so simple and fast.What if all story ideas were able to be boiled down to a single formula? Wycliffe A. Hill had this idea in the 1930's when no less than Cecil B. DeMille rejected one of his stories because "it had a good narrative, but no drama." This led Hill to research what made a dramatic story. That study lead to a 1920's author who claimed (based on even older research) that there were only 36 possible conflicts through all dramatic works.Diving into the problem that the growing movie industry had for volume treatments to feed their industry, Hill's name became synonymous with what Slate called the "Hollywood schlock machine."But Hill never intended it to become a mass-production device for plots. The original "Robot" he produced was to explore the idea of formulaic basis for stories. Not too long after, Joseph Campbell produced his "Hero With a Thousand Faces" which prescribed the monomyth as a base for all stories. Chris Vogler then championed this idea through Hollywood. And the Star Wars saga, as well as multiple Disney hits followed that generic model.Hill himself cautioned against using the results on its own, but to use it as inspiration to ferret out new combinations of stories never before attempted. He claimed that author output had become hackneyed as they had been repeatedly explosed to the same few element combinations over and over.For Flash Fiction, the work is even more daunting, as it's not a question of filling in more conflict, action, or romance by adding words. The author must start out with a well-developed synopsis and then whittle that down, carving out the core story and limited action into a very tiny wordage.Every single word has to now forward the plot, character, or emotional response of their thousand-word story. The Plot Wizard now assists with generating a dramatic synopsis, so that the inspiration and perspiration of the author can go to work.Research into the plot problems of the short story also unearthed another classic from the 1920's, "The Plot of the Short Story." Its author, Henry A. Philips, also dissected the problems and solutions to short story plots, and excerpts from his book are included.The object of this book is more for education of the author in the basics of how to string a plot together, and perhaps a tentative solution to his "writer's block."At any rate, it gives some very amusing stories. In fact, Hill mentions that it can also produce comedies.Robert Silverberg reviewed Hill's work and recommended:"Pick one up, follow the instructions, write your story. You might just find that a grand literary career is unfolding for you in a wondrous, magical way."

A page-turning novel that is also an exploration of the great philosophical concepts of Western thought, Jostein Gaarder's Sophie's World has fired the imagination of readers all over the world, with more than twenty million copies in print. One day fourteen-year-old Sophie Amundsen comes home from school to find in her mailbox two notes, with one question on each: "Who are you?" and "Where does the world come from?" From that irresistible beginning, Sophie becomes obsessed with questions that take her far beyond what she knows of her Norwegian village. Through those letters, she enrolls in a kind of correspondence course, covering Socrates to Sartre, with a mysterious philosopher, while receiving letters addressed to another girl. Who is Hilde? And why does her mail keep turning up? To unravel this riddle, Sophie must use the philosophy she is learning—but the truth turns out to be far more complicated than she could have imagined.

Among the authors represented in this collection of brief tales are Marion Zimmer Bradley, Harlan Ellison, Barry N. Malzberg, Roger Zelazny, H.P. Lovecraft, and Edgar Pangborn.