The world through the eyes of a woman or notes from Elena Yange. Literary cliches in science fiction

Stamp (literary) Stamp linguistic and literary, means of expression language and literature, which are stereotypically reproduced in texts (mainly in fiction) and are perceived as signs of “clichédness” of thought, imaginary “stylistic beauty”. Sets of fashionable words, phrases and phrases, themes and plots, stereotyped images, the inertia of “ready-made artistry” techniques influence everyone who uses the language. Most often Sh. manifests itself in the so-called. “formulas” of artistic speech: “black gold” (and slaves, and coal, and oil); some title structures (“When...”, three juxtaposed nouns in nominative case and so on.). The threat of Sh. is fraught with numerous “writer’s excursions” to the country of childhood in modern Soviet literature, serial appeals to the images of a rose and a nightingale in Turkic poetry, rhymes like “mine is not the same.” An uncritical attitude towards Sh. interferes with the manifestation creative individuality, making the writer and any speaker a victim of the “inertia of style.” But in different areas communication - in everyday life, in science, journalism, and the arts. literature, etc. - the relationship between speech, expression and stylistically neutral elements of language (which are also constantly reproduced in speech) do not coincide. A sensitive artist always finds ways to transform sh. (for example, buzzword“the eye” is surrounded by the subtle irony of the line of the poet A. Mezhirov “Lords and kings look beyond the eye...”). The tendency of poetry to spread, to transform it into a general “rule” is opposed by the desire of writers to create their own “poetic rules”, to “novelty of material and technique” (V. Mayakovsky, “How to Make Poems?”). Boundaries between “formulas” as stable units artistic language and general language phraseology, free from the signs of banal word usage, mobile. So, the expression " naked eye"can still be perceived as Sh., but dictionaries already record its transformation into a stylistically neutral phraseological unit.

Lit.: Kostomarov V. G., Russian language on the newspaper page, M., 1971; Shmelev D.N., Word and Image, M., 1964; [Grigoriev V.P.], Artistic speech, in the book: Book about the Russian language, M., 1969.

V. P. Grigoriev.

Big Soviet encyclopedia. - M.: Soviet Encyclopedia. 1969-1978 .

See what “Stamp (literary)” is in other dictionaries:

Wikipedia has articles about other people with this surname, see Balmont. Konstantin Balmont ... Wikipedia

To the history of the problem. Definition of the concept. Solving the problem in dogmatic literary criticism. Evolutionist theories J. Solution to the problem J. " formal school" Paths of Marxist study J. Literary theory J. Thematic, compositional and... ... Literary encyclopedia

LITERATURE OF THE ERA OF FEUDALISM. Actually P. l. called lit pa, which has existed since the 9th century. AD to the present day, written in Persian (sometimes more accurately defined as New Persian) language. IN in a broad sense however, sometimes they talk about P. l., having in... ... Literary encyclopedia

I just found out that I haven’t published this article on BS yet. Although, maybe this article appeared in one of our magazines, maybe the article was written for Typical writer. To be honest, I don't remember :D

Literary stamp- this is the scourge of any author, both beginner and advanced. But many have difficulty understanding what it is and how to deal with it, and some seriously ask the question “Is it necessary?”

Literary stamp- this is a cliché on which novice authors try to build a text, sincerely believing that this is the missing bow that the work is so lacking.
Lit. stamp you can call a phrase or even a sentence that you can come across in the works of different authors writing in different genres.
A literary stamp is like a puzzle piece, covering missing holes, and sometimes expressing full picture.
And at the same time, the literary stamp is no longer a mysterious “beast” that surprises no one.

This concept can be divided into two types: plot stamp and linguistic stamp. And, in my humble opinion, each type has both its pros and cons.
If we talk about plot clichés, then the formula was derived a long time ago:

1. Exceptional personality, a kind of “Byronic hero”, distinguished from others by some special qualities or knowledge.
But this point is difficult to classify as a disadvantage, because reading about an ordinary person without a king in his head, without a conflict with society, with himself or without special abilities is simply not interesting. In this case, the genre determines the character of the hero and his behavior. If in a dystopia a character fights the system based on his abilities, then in a fantasy of sword and sorcery the hero is distinguished by special skills or, conversely, atypical inability.
Non-genre prose in this issue low sensitivity to such personality stamps. If we talk about lyrics, then the intangible hero, whom no one understands, can be found in six out of ten poems.

2. Path. Main character, overcoming all difficulties, stubbornly strides towards a special Goal, scattering villains along the way or fighting them in a fair fight. How fair the fight is is a moot point, since if the main character is involved in the fight, then we are absolutely sure that he will not die at the very beginning and will definitely live to the end of the story (unless the author, of course, is Martin or his follower-imitator).

If the two previous cliches can be classified as common ones that can be found in many works, then there are also no less popular cliches. For example, the hero’s reflections on the road to a great Goal (or even initial refusal and self-doubt: “But how can a little hobbit cope with such a mission?”), falling in love with the main antagonist, the presence of a “sage” (a caterpillar can also play this role, smoking a hookah), revenge for the dead parents, saving everyone and everything, even if the world was on the verge of destruction. After this, as a rule, the hero begins to die, but a beautiful maiden or an equally wonderful maiden throws herself on his chest and fills the entire chest of the almost lifeless person with tears, which may have a miraculous effect.

Such cliches can be listed endlessly, and it’s good when the author sees and understands his mistake. But the question “is it a mistake?” for many writers it will remain controversial. I believe a writer can truly enjoy his characters and plot, even though the characters exact copies many others, and a similar plot can be found through a book on the bestseller shelf. The author may have a truly amazing style or deep thoughts, floating in an ornate haze between the lines. And the reader often stubbornly gets lost in his own world and does not want to open up the various facets of literature, asking Google for the names of books of a certain genre. “A book similar to...” - at least once each of us began our journey into a new work with these lines. Is this bad? It's up to you to decide.

However, let us return to the discussion about the main thing, namely the speech stylistic stamp (hereinafter RSS). What kind of fruit is this and what is it eaten with?

In fact, it is an unnecessary unoriginal clarification that can easily be replaced or thrown away, but the author is sincerely confident that it is beautiful and literary anyway (often put intuitively).
This cliché can also be divided into two types: speech and stylistic.
If we consider these types in parallel, then a stylistic stamp is a stylistic error in the text, which, in the opinion of the author and some readers, gives the text a certain beauty. There are a great many such errors, I propose to study (remember) some of them:

1 . Paronyms are words that sound similar but have different meanings. For example, linguistic-linguistic, equal-equal, provide-present, acquire-master and others. Agree that the incorrect use of the above words can lead to an erroneous understanding of the meaning: “Having provided the newcomer to those around him, Mr. X sat down in the chair again” (having provided - having given for use, do you feel the irony?).

2 . Tautology is a word, term, definition that repeats something previously written in a different form. It is very common to use a noun in conjunction with an adjective. “Oil oil” is easy to notice in the text, you say. Yes, if similar words are nearby: “Along with these reasons, he was guided by a number of others. (next to - NEAR)” . It would be more logical to write “Along with these reasons, he was guided by others.”

3 . Stringing words in identical case forms, standing close to each other. For a clear understanding, I will immediately give an example: “In order to avoid the possibility of danger.” Such chains of words create a monolithic and incomprehensible piece of text. In addition, authors sometimes make mistakes with the cases themselves. To knock down this cobweb, you can use the conjunctions “so that”, “which” or throw out a cumbersome word.
Solution: “To avoid danger”

Not only do authors sometimes make mistakes with the cases themselves, but they also put identical ones side by side. Eg,
In order to avoid the possibility of danger... (example not mine).
In order to knock down this web, you can use the conjunctions “so that”, “which”, but do not overdo it, which will also be considered a mistake.
Solution:
To avoid danger...

In general, stylistic errors that can easily be classified as cliches great amount. But, alas, I have regulations, so let’s move on to speech errors.

A speech stamp is a cliché that includes some “fashionable” words, phrases, phrases, and images. Perhaps, this representative- one of the most serious and dangerous literary cliches. A writer who uses such words cannot develop his own style or create an author’s individuality, because he uses phrases that have already become clichés in the history. For example, “the frost grew stronger”, “jump out like a bullet”, “steps echoed loudly”, “walked all the way”, “chest rose high”, “eagle gaze”, “mysterious Russian soul”, “make eyes”, “fall into hugs", "blonde with blue eyes"and, believe me, many others!

I have already outlined the harm of such tag words: the author does not develop his style, while the shelves are overloaded with “literature”, as if written by the same writer. The use of such “phraseologisms” is the problem of every novice author, and it cannot be avoided, you need to fight. However, it is very convenient for the reader: there is no need to strain your brain, because such clichés evoke familiar images due to their popularity. That is why I dare to call this stamp literary device(may philologists shower me with rotten tomatoes and old slippers), used by the author to establish a connection with the reader. The simpler, more accessible and more familiar it is written, the more readers the work will have.

Unfortunately, few people think about the versatility of literature, the duality of meanings, and the possibility of thinking about the same scene from different angles. Few people are interested in what exactly the author wanted to convey, and most crave a “head-on” story. Does it develop modern literature? No. Is there any chance of achieving real recognition with a narrative like this? No. If the text is based on the above cliches, then your work will be labeled “light reading,” which will never enter the literary annals. However, you can argue.

A literary stamp is a phenomenon of speech that occurs in the texts of works of literature, where it is mechanically reproduced, replacing something that could reflect the creative initiative of the author as an artist of words, overcoming the resistance of the material, and a participant in the formation of language fiction or poetic language.

S.G. Barkhudarov

We believe that if you want to write a fantasy novel, you should take this exam first. Even one single answer “yes” to any of our questions means failure, and you can immediately abandon your “promising” venture.

Spoiler

1. Nothing important happens in the first 50 pages of your story?

2. Your main character comes from a village, but his parents are unknown?

3. The main character is the heir to the throne, but he himself does not suspect it?

4. Is your creation about a young hero who grows up, gains incredible powers and finally defeats a super-duper bad guy?

5. Does your work tell about going to the ends of the world to find an ancient artifact that will save the world?

6. What about the one who is capable of destroying this very world?

7. The plot of your book revolves around an ancient prophecy about the Chosen One who will save the world, and with it everyone else, by leading the Forces of Good?

8. Is there at least one character in your work who exists solely to appear unexpectedly and provide information to the characters?

9. Is one of your characters actually a god in disguise?

10. The main, evil, super-duper bad guy is secretly the father of the main character?

11. Is your world ruled by a good-natured king who is led by the nose by an evil sorcerer?

12. Does the phrase “forgetful magician” describe at least one of the characters in your novel?

13. What about “a powerful, but dull and good-natured warrior”?

14. Isn’t there a “wise, mysterious wizard who refuses to fully commit the characters to a plan of action for some mysterious reasons of his own”?

15. The women in your work spend a lot of time worrying about their appearance, especially when a man appears nearby?

16. Is at least one woman introduced into the novel only to be first kidnapped and then rescued?

17. Does at least one woman exist in the text solely to represent feminist ideals?

18. Does the words “a clumsy kitchen wench who is much better with a frying pan than with a sword” apply to at least one woman in the book?

19. And the words “a fearless warrior who is more suited to a sword than a frying pan”?

20. Can at least one character in your book be described as a “stern dwarf”?

21. What can you say about a half-elf, torn between his human and elven blood?

22. Didn't you make the elf and the dwarf inseparable friends, just as an original move?

23. Do all the characters, less than one and a half meters tall, exist only for comic roles?

24. Are you sure that ships serve only two purposes: fishing and robbery?

25. Do you know when they started using the hay binder?

26. On the map you drew for the novel, are there such places as the “Scorched Lands,” the “Forest of Terror,” the “Wild of Despair,” or anything that contains the word “Destruction”?

27. The prologue of your work cannot be understood until you read the whole book... and maybe even then - not so much?

28. Is this the first book in a planned trilogy?

29. What about five- and ten-logies?

30. Is your work thicker than the New York telephone book?

31. Absolutely nothing happens in the previous book, but you explain this by the fact that there are still many books between you and the ending?

32. Are you already writing prequels to book series that haven’t even started yet?

33. Your name is Robert Jordan, and to get to this point you've been bawling like a mangy dog?

34. Is the story based on an adventure you played out in Dengen?

35. In your work there are characters transferred to fairy world from real?

36. Does at least one of your main characters have an apostrophe in their name?

37. Does at least one of the main characters have a name noticeably longer than three syllables?

38. Doesn’t it seem strange to you that, when describing two characters from the same small, isolated village, you call one “Tim Umber” and the other “Beltuzalanthal al”Greenscock”?

39. Are there orcs, elves, gnomes and halflings in your world?

40. What about “orkens” or “gnomes”?

41. Is one of your race names preceded by the prefix "half-"?

42. In one part of your work, do the characters take a shortcut, descending into the ancient mines of the gnomes?

43. Do you describe battle scenes after playing them in your favorite RPG?

44. Have you made a description of all your main characters based on the parameters in your favorite RPG?

45. Are you writing this book on behalf of Wizards of the Coast?

46. ​​Do inns in your work exist only so that the characters have a place to fight?

47. Do you think that you know everything about feudalism, but in reality this is not at all true?

48. Are the characters busy traveling back and forth most of the time?

49. One of your characters might tell the others something that will help them on their journey, but won't because he doesn't want them to ruin the plan?

50. Do your wizards cast spells that are unmistakably “fireball” or “lightning bolt”?

51. Do you use the term “mana” at least once in your work?

52. Do you use the term "scale mail"?

53. And, heaven help you, did you really use the term “hit points”?

54. Do you know how much gold coins weigh?

55. Are you sure that a horse can gallop all day long?

56. In your work, someone: first fights with enemies for two hours straight, dressed in plate armor, then rides a horse for another four hours, after which he has enough strength to politely seduce a lustful waitress into bed pleasures?

57. Does your character have a magical axe, hammer, spear, or other weapon that returns to him after he throws it?

58. In your book, does anyone get pierced through with a scimitar?

59. Does anyone in your book get stabbed through despite wearing plate armor?

60. Are you sure that all swords weigh at least five kilograms?

61. Does your hero fall in love with an unapproachable beautiful lady, whom he eventually takes by storm?

62. Most of Are the jokes in your work based on wordplay?

63. Is your hero able to withstand many blows from a fantasy equivalent of a ten-kilogram sledgehammer, but is still afraid of a fragile girl with a knife?

64. Are you really sure that a person usually needs more than one arrow in the chest to die?

65. You have no idea that stew takes several hours to cook, and that it cannot be called “not God knows what, but it will do on the road”?

66. In your work there are nomadic barbarians living in the tundra and drinking one barrel of mead after another?

67. Are you sure that “mead” is just a funny name for beer?

68. In your work are there many different races, each of which has exactly one state, one ruler and one religion?

69. The most disciplined and numerous association of people in your world is the thieves’ guild?

70. Main villain executes loyal servants for the smallest offenses?

71. Are you talking about warriors who constantly get into fights, but drag a bard with them everywhere, who doesn’t know how to fight at all, but plays the lute very well?

72. "Ordinary" is official language in your world?

73. All the surrounding areas in your work are stuffed with tombs and crypts, which are bursting with all kinds of magical artifacts and which no one has thought to plunder over the past few hundred years?

74. Your work is just brief retelling"Lord of the Rings"?

75. Now re-read these points again and answer honestly!!!

What are the most common mistakes in all literary works, sent to the "Golden Pen" competition?
- If the beginning is teeming with literary cliches, like “the frost was getting stronger”, “the sun was setting”, “the wind was blowing”, “the eyes were blue”, “he turned pale”, “she turned pale” and the like, then no self-respecting jury member can simply read it won't. If there grammatical errors- Same. Classics of the genre: “I help those who are tired of learning Russian language.” What kind of Golden Feather can we talk about in this case?
If there are repetitions of words: he, she, they, was, was, there were others - well, it’s just unpleasant. Remember - Pushkin is strong because not a single word is repeated on his page! Read your poems again. Remove the words: “love”, “moon”, “stars”, “you”, “I”, “dream”, “evil” - it will become easier for you to breathe. Remove from fairy tales “hackneyed” heroes like elves, trolls and fairies, as well as kings and princesses... If in a poetic piece a verb rhymes with a verb, a noun with a noun, an adjective with an adjective, especially with the same syllabic size, these are gross mistakes. They are justified only if the emphasis is on precisely this rhymed form of the reverse. “Boot and low shoe” is also not a rhyme! There is also so-called “water”, not visible to the author. These are extra quatrains, or sentences, or even entire pages, which can easily be abandoned. Avoid semantic and verbal tautology. Chekhov, for example, wrote his stories like this. He will write and let you rest. Then he will throw out the first couple of pages. And Hemingway was looking for a good opening phrase, like “the bell that tolls for you.” If this phrase exists, consider that there is a novel... The same goes for the competition work. Look for your personal courage! If you have the courage to think, consider that the feather is already on the lapel of your jacket!
From the article " Literary problems country of the Soviets."

The above excerpt identifies the most serious errors found in the works of novice authors.
I was interested in the prioritization of the competition organizer: the emphasis is placed primarily not on the illiteracy of the majority of young writers, as, it would seem, one of the most important and pressing problems of modern youth prose, but on the question of the admissibility of using so-called literary cliches in literary texts. Therefore, I would like to dwell on this topic in a little more detail.
According to the unanimous opinion of critics and sophisticated readers, cliches are the mark that separates the chaff from the wheat, and the following set of cliches is unacceptable in high-quality literature:

“Tired, but happy”, “the frost grew stronger”, “jump out like a bullet”, “blush in embarrassment”, “open trusting eyes”, “the first large drops of rain”, “frost that turned silver...”, “steps echoed loudly”, “a woman of amazing destiny”, “having gone all the way”, “scorching tea”, “silence reigned”, “unruly curls”, “in splendid isolation”, “hero of the occasion”, “sunset gilded...”, “ formidable weapon", "gentle haze", "ruddy apple", "hands like wings", " swan neck", "the wind is rustling in the ears", "the fog is spreading", "sadness/sadness/longing in the eyes", "fur like velvet", "witch's potion", "the face is clouded/lit with happiness", "the edge of reason", " righteous indignation”, “offended innocence”, “unforeseen coincidence of circumstances”, “in fruitless attempts”, “guardians of order”, “grin in the mustache”, “sly squinting of the eyes”, “hair/curls scattered in sleep”, “chest high rose up”, “shaked all over with indignation”, “face distorted with hatred”, “pounce with congratulations”, “the hero of not her novel”, “everything went cold inside”, “hot embrace”, “green beauty”, “the dream of a righteous man” , “eagle gaze”, “icy/cold gaze”, “strong-willed chin”, “unruly curls”, “bottomless eyes”, “thin as a reed”, “tired and kind eyes”, “the color of ripe wheat”, “cornflower blue eyes ", "with unshakable confidence", "with a cheerful cunning", "laugh fervently", "grind your teeth in frustration", "jumped up, ready for action", "impenetrable/pitch darkness", "wave away in annoyance", "fragile blond creature ", "panther's gait/cat's gait", "twilight has fallen on the city", "a stingy man's tear", "a gentle girlish look", "chirping cheerfully", "look in a special way", "leave behind a vague feeling something joyful”, “it was getting dark”, “the air smelled of spring”, “her hair spilled over her shoulders like silk”, “eyes like coals”, “burn with passion”, “cling to her lips (or something else. ..)", "the snow is silver/ Moonlight", "gallant Frenchman", " prim Englishman", "mysterious Russian soul", "bright stars/lush vegetation", "victim of passion/love", "the sun was setting", "the wind was blowing", "blue eyes", "he turned pale", "fragile psyche", "gloomy depths”, “making eyes”, “sensitive soul”, “quivering heart”, “years rush by like a horse”, “time, the evil executioner”, “lush flowering”, “light of the soul”, “scales like gold/copper” , “marble skin”, “eyes like diamonds”, “rose from the creaky chair”, “went to the open window”, “meager dinner”, “naive child”, “noble warrior”, “blushing with barely restrained rage”, “ fall into arms, " Magic world childhood", "caring mother's hands", "father's stern gaze".

Poetic stamps:
“Blood-love-carrots-again-”, “eternity-infinity”, “love-pray/offend-see” (as well as other verbal rhymes), “never-forever”, “tears-dreams”, “day-shadow” ", "house-tom-com", "warmth-light", "sky-wasn't", "time-burden", "banner-flame", "memories-suffering", "rose-frost-mimosa".

Of course, this is far from a complete catalog of literary templates, however, while reading this selection of metaphors and images wandering from book to book, I noticed that some of the listed “clichés” are in fact set expressions (“cat walk”, “jump out like a bullet”) ") and traditional descriptive techniques that are important for conveying reliable information about the external and internal characteristics of a character (“cold/icy gaze”) or the specifics of a particular phenomenon (“bright stars”). These are tag words characteristic of any language, the replacement of which with newly invented phraseological units can lead to a certain kind of misunderstanding between the reader and the author of the text. “I, of course, can change the stamp, and, for example, declare that “lantern” will now be considered a “svetarem”, due to its consonance with the word “light”, or even “taprimak” without any consonance with anything, but this is unlikely is it productive" © staruschka57
Since the universe is characterized by clear, stable laws, the phenomena and concepts described by people remain unchanged for thousands of years. Consequently, it makes no sense to look for original designations for objects familiar to every person since childhood, and the use of stamps in similar cases justified and appropriate.
Attempts to include such phrases as “blue eyes” and “moonlight” among the forbidden clichés make me suspect modern literary critics in incompetence. “Blonde/blonde with blue eyes”, “fog spreading over the lake”, “moonlight illuminating the paths”, without a doubt, are stereotypical images inherent in 90% works of art, but these are forms invented not by people, but by that higher and no less stereotypical authority, which is usually called God or nature.
All human life consists of "stamps". Everyday situations are repeated, thoughts and actions, smiles and hysterics, holidays and misadventures are repeated. Words are repeated. And in the realities of everyday life, for some reason they do not seem outdated or inappropriate.
Literature describes the same life, albeit clothed in a weave of ornate and colorful phrases, and the use of formulaic formulations is only a way to activate the emotional perception of a text that was initially devoid of visual and auditory images. Skillful manipulation of cliches creates the illusion of simplicity of presentation and makes it possible to easily understand the events proposed by the writer or poet. When a person passes long-familiar images and designations through the prism of consciousness, he is able to more reliably compare fiction and reality in his mind, while he first needs to adapt to unusual ideas about reality, which significantly slows down the process of understanding the ideas embedded in the text. Moreover, in the pursuit of originality, the original meaning of the work is often lost, so it is not cliches that should be avoided, but inept innovation.
However, I will not deny that the use of formulaic formulations should be deliberate and careful: if it is possible to cross out superfluous word- it will always be wise to cross it out.

The most common plot cliches:
- The hero is offered to take up a case (solve a crime, go on a trip, etc.), he initially refuses, but then, after reflection, agrees.
- The hero takes revenge for his dead parents.
- The hero or heroine falls in love with the villain, although he understands that this could cost her/him his/her life.
- The hero goes for advice to a sage, and he, having broken down a little, solves all the problems.
- The hero not only copes with his enemies, but receives love and half a kingdom into the bargain.
The decisive battle between the hero and the villain.
- “Please don’t die” scene followed by animation.
- Large-scale atrocities and rescues: the antagonist dreams of destroying the universe, the hero saves it.
- The hero secretly enters the villain’s lair and learns important information.
- At a crucial moment best friend betrays the main character.

Advice: Often a writer spends hours working on a paragraph, but it doesn’t work out - even if you crack it! Time flies, things stand still, the author becomes desperate. What should I do? Write down the thought - what exactly needs to be reflected in this paragraph - and move on. You can even write an entire novel in this “cursive script” and then edit it.

ABC for a writer: how to write a book?

Sixteenth meeting in the literary drawing room

Plot cliches

From this article you will learn:

Those who closely follow meetings in the literary drawing room, or actively participate in them, have long guessed what topic of conversation will follow the “plot archetypes” - see. And they will be absolutely right.

If for the archetypes of heroes see -, there were cliches of heroes - see, then after analysis plot archetypes, it would be logical to parse plot cliches. So, let's get started.

There is no doubt that critics and literary scholars have already unanimously rendered their verdict that the use of plot cliches- This is a sign of unprofessionalism. The author cannot come up with anything new and steals stories from geniuses! At the same time, critics forget to dig deeper and find out, oh horror, from whom the genius, in turn, “stole” the spectacular plot.

As an example, I will cite the stamp indicated in the classification - “a representative of a more developed civilization falls in love with a native girl.” How many books and films with such a plot have you seen? Thousands. Has this made them less popular? No.

By the way, for some reason the famous Robinson immediately came to mind... And even though Friday was a man, his name was Friday! Cool use stamp with our own seasoning, replacing love with friendship and worship... And so the recipe is simple: take stamp, adding know-how and…. We get a bestseller!

Why do I advocate using plot cliches? Probably because I am a psychologist by profession. And any person familiar with psychology knows that the shortest path to the reader’s heart lies... now I’ll tell you a terrible secret... And so, we will get the emotions we need if we use something already painfully familiar to the reader plot.

Surprised? And there is nothing unnatural about this. Imagine, they tell you about the vile behavior of a bad mother... What do you experience? Anger, condemnation, irritation, clung to the children...

It turns out that Shakespeare blatantly used stamp, to make you approve of Hamlet’s actions, although he is an obvious murderer! But Hamlet, by killing, took revenge. And his revenge was caused by his mother’s inappropriate behavior!

And if Shakespeare allowed himself such “liberties,” then who will forbid you? Therefore, listing the most used plot cliches– savor them with me. What “delicacies” can be prepared from them! Especially considering that the reader, having sensed the “taste” familiar from childhood, will know in advance that he will enjoy your work.

Just one word of caution: take stamp as a basis, this does not mean rewriting Hamlet verbatim. Use your brains and bring Hamlet to our time, it will be extremely relevant for fans of bloody showdowns - a lot of corpses and mysteries!

And don’t forget to rename him at least Georg!

And now - The most common plot cliches

A celestial creature comes to earth and falls in love with a mortal. An alternative option: a representative of a more developed civilization falls in love with a native girl.
Everyone is chasing some military secret or a magic shovel with which they can rake in money. The thing can change the course of history.

The main character is transported to a parallel world and there he becomes a god, a king, a hero or a wizard.

The Apocalypse has arrived, people live in dungeons and fight with mutants.

A girl marries a foreigner. Acquaintance, embassy ordeals and long-awaited love - everything is based on true events.

The hero is offered to take up a case (solve a crime, go on a trip, etc.), he initially refuses, but then, after reflection, agrees.

The hero takes revenge for his dead parents.

The hero or heroine falls in love with the villain, although he understands that this may cost his life.

The hero goes to the sage for advice, and he solves his problems.

The hero not only copes with his enemies, but receives love and half a kingdom in addition.

The decisive battle between the hero and the villain.

The hero is on the verge of death, but then appears true friend and saves him.

The "please don't die" scene followed by animation.

Large-scale atrocities and rescues: the antagonist dreams of destroying the universe, the hero saves it.

The hero secretly enters the villain's lair and learns important information.

At a crucial moment, the best friend betrays the main character.

And at the end, a small gift for those who courageously read the article to the end. Working on plot, it’s very difficult to come up with a spectacular twist storyline. Use these stamps, like transitions, and it will be impossible to tear yourself away from your book.

Creative success, and do not forget to subscribe to the Literary Living Room news.

Until we meet again, Elena Polyarnaya.