/lit/ - Literature

>>14023924
>However I could agree that sorrows of Young Werther is pleb tier goethe if that’s would you’re saying. Still a better favorite book than yours, faggot
Come at me, bro.

>tfw every fucking thread has filtered tripfaggotry
if mods wanted to clean this place up they should start there

everything goes wrong for sister fucker

>>10722464
What? The Speckled Band is a totally different story. The closest thing I can think the anon is referring to is The Adventure of the Empty House.

I always loved His Last Bow. Watson and Holmes having aged gracefully and their enduring friendship, the ease with which they re-familiarize with one another. It's beautiful and inspiring, even if it is total propaganda.

>>10168501
I periodically close my eyes and focus on my failings as a person and the weight of my task. I scream internally, berating and abusing all the missteps that led me here, I scourge myself with the worst future that could await me and stress how I had chosen this, wrought it all despite having every chance, a base coward deserving of all the pains I've known and worse still, how squandering as I've squandered isn't merely stupid, it is criminal and I am far worse than anyone I could hope to hate. I find after about 5 or 10 minutes of this I approach a state of excitement just short of a nervous breakdown and it allows me to write with a desirable degree of liveliness.

>>9653984
Anon, first of all:

Read some books regarding screenwriting structure, character development and typical structure elements such as the set-up and pay-off. John Yorke's Into The Woods is good for this as he works in British television and has done for the past 20 years. He knows what he's talking about.

I assume you've already encountered Syd Field's Screenplay book, Robert McKee's Story, Blake Snyder's Save The Cat, etc. If not, check those out: they vary in quality but they'll offer useful info for beginners in screenwriting. Robert McKee's Dialogue is also a useful book in how to write good dialogue rather than relying on exposition to get your story rolling.

On top of that: it's not just enough to have a big bag of screenplays. Submit them to competitions first: if you win, it proves you're good at what you do. If you don't win, it still proves you're a legitimate screenwriter and that your screenplay has received legitimate attention. Some of the people reading your works for these competitions (agents, production companies, filmmakers, actors, playhouses, etc) may even really enjoy your stuff, even if you didn't win anything. It may be that they see potential in a new writer who isn't exactly quite there yet, which means KEEP AT IT, m8. Keep in mind also that no competition is too small or too large: large ones will have cash prizes but they're also more intensely difficult to win (people tend to write for years before they even get noticed through those due to how many submissions they get). If you want to see your work produced, try submitting to small competitions, especially run by indie playhouses or a small group of recent graduate filmmakers. A lot of people need scripts and not many people are willing to polish their own original ideas into a well structured creation.

If you can take any screenwriting courses to help you develop your skills, do so. Masterclass.com has some worthwhile classes hosted by Aaron Sorkin and David Mamet right now and they're very thorough while also being accessible. If you can't afford those, there's plenty of writing blogs and screenwriting communities you can find via social media (this may mean you might have to be more sociable online). Don't turn your nose up to studying at a college or going for networking meet-ups too.

Also make sure you invested in Final Draft. Final Draft makes formatting so much easier and people will recognise very quickly whether you wrote in Final Draft or not. Screenplays for TV or film not written in Final Draft but, say, Microsoft Word of CELTX are often very quickly trashed. Final Draft is the way to go, but unfortunately it is kinda pricey. It's pretty essential though.

After all of that, I would then consider finding an agent to represent you. Most production companies don't want scripts from unsolicited sources: they may have heard of you at this point but without an agent you'll find it difficult to get your foot in the door.

Hope this helps, OP.

>>9630389
>It is the mark of an educated mind to be able to entertain a thought without accepting it.
>t. Aristotle
Only literal retards can't appreciate material simply because it disagrees with them personally somehow.

Anything, just b urself.

>>9059316
I didn't enjoy it. It's extremely plain, I suppose Hesse was going for a sophistication in simplicity sort of thing, but the story bored me to tears and felt anything but profound. Hesse in general I dislike, his perverse mixing of east and west is all kinds of disagreeable to me.

That being said I haven't actually read it.

>>9038302
that was poorly written

not that I read it

who'd bother with such swill

>>8967198
Maybe if you were a white guy your meaningless mess of platitudes could approach coherence. As is I don't understand what you're saying, it's too retarded.

What good are books when they have no power outside the realm of theory and metaphysics? I've read Nietzsche, Kierkegaard, Stirner, Camus, etc, I can meme with the best of them, but while I've internalized their works, my behavior has not changed. My worldview has only become more unfocused, and my nothing nothings as never before. No author has inspired me to feel invested or engaged in life. I can see the poetry in the struggle Nietzsche describes, but I feel no such fire within me. Camus' benign indifference of the universe...I myself am indifferent to it!

I ask you, has an author genuinely inspired any of you? Is it even possible?

This all feels...recreational. Escapism, in the abstract world of productive theory...nowhere and no way to apply it and worst of all no reason to do so in the first place. I begin to believe that the only epiphany to be had in this world is weariness.

What good are books when they have no power outside the realm of theory and metaphysics? I've read Nietzsche, Kierkegaard, Stirner, Camus, etc, I can meme with the best of them, but while I've internalized their works, my behavior has not changed. My worldview has only become more unfocused, and my nothing nothings as never before. No author has inspired me to feel invested or engaged in life. I can see the poetry in the struggle Nietzsche describes, but I feel no such fire within me. Camus's benign indifference of the universe...I myself an indifferent to it.

I ask you, has an author genuinely inspired any of you? Is it even possible?

This all feels...recreational. Escapism, in the world of productive theory...nowhere and no way to apply it and worst of all no reason to do so in the first place. I begin to believe that the only epiphany to be had in this world is weariness.