Here's the God's honest truth... Hollyweird needs us a WHOLE LOT more than we need them. I really need to catch up on some reading that I've let slip recently. A couple of books I just ordered, and I got bogged down reading C.S. Lewis' "Mere Christianity" because it is so densely packed, so I need to re-engage that book. I live not more than 40 minutes from the Great Smoky Mountains National Park, so I really should be going there more and hiking, or just sit by a mountain stream and listen to the rushing water and calm my soul for awhile.
So yeah... go ahead, Hollyweird, you do you, I don't mind disengaging from your claptrap for a long while.
Speaking of claptrap, has anyone else noticed that there are really only about 10 plot devices in Hollyweird, they they just use them over and over with different actors and contexts? I've seen pretty much the same plot devices in westerns, modern city dramas, sci-fi drama, and more. Different costumes, different genres, different time periods... but the same tired old 10-or-so plots.
Yes! As a hobby writer, I say this all the time. Black Panther was a redo of The Lion King. Avatar was basically Pocahontas with a huge budget. Lord of the Rings was Star Wars in Middle Earth. And the rom-com plots are even worse because they don't have the hint of Joseph Campbell's work to prop 'em up at all. And the remakes!!! Don't get me started on those.
Thanks, that's a good insight. Although I have to admit that if we're looking at original, out-of-the-box thinking creativity, I would give Tolkien's "Middle Earth" the edge with Star Wars as the imitator.
Precisely. Tolkien was recovering from his experiences in WWI and lost himself in writing about the Hobbits, Middle Earth, the Ring series...it was therapy for him. In a similar vein, Earnest Hemingway wrote the Nick Adams stories as a way of coping with his devastating wartime experiences. The clear, Spartan prose of these stories is how he cleared away all the non-essentials and and chaff and got to the heart of storytelling. In the end, though, it was alcohol that finally quietened the thoughts and nightmares of his war years.
Here's the God's honest truth... Hollyweird needs us a WHOLE LOT more than we need them. I really need to catch up on some reading that I've let slip recently. A couple of books I just ordered, and I got bogged down reading C.S. Lewis' "Mere Christianity" because it is so densely packed, so I need to re-engage that book. I live not more than 40 minutes from the Great Smoky Mountains National Park, so I really should be going there more and hiking, or just sit by a mountain stream and listen to the rushing water and calm my soul for awhile.
So yeah... go ahead, Hollyweird, you do you, I don't mind disengaging from your claptrap for a long while.
Speaking of claptrap, has anyone else noticed that there are really only about 10 plot devices in Hollyweird, they they just use them over and over with different actors and contexts? I've seen pretty much the same plot devices in westerns, modern city dramas, sci-fi drama, and more. Different costumes, different genres, different time periods... but the same tired old 10-or-so plots.
I'm. Over. It.
Yes! As a hobby writer, I say this all the time. Black Panther was a redo of The Lion King. Avatar was basically Pocahontas with a huge budget. Lord of the Rings was Star Wars in Middle Earth. And the rom-com plots are even worse because they don't have the hint of Joseph Campbell's work to prop 'em up at all. And the remakes!!! Don't get me started on those.
Thanks, that's a good insight. Although I have to admit that if we're looking at original, out-of-the-box thinking creativity, I would give Tolkien's "Middle Earth" the edge with Star Wars as the imitator.
Yes, I was thinking the same. Star Wars came out as a movie first, but Tolkien wrote The Trilogy many years before.
Precisely. Tolkien was recovering from his experiences in WWI and lost himself in writing about the Hobbits, Middle Earth, the Ring series...it was therapy for him. In a similar vein, Earnest Hemingway wrote the Nick Adams stories as a way of coping with his devastating wartime experiences. The clear, Spartan prose of these stories is how he cleared away all the non-essentials and and chaff and got to the heart of storytelling. In the end, though, it was alcohol that finally quietened the thoughts and nightmares of his war years.