Er Diagram For Online Digital Payment System
VistA Imaging Overview
VistA Imaging Home | Overview | DICOM | HL7 | Clinical Capture Devices | News
The VistA Imaging system integrates clinical images, scanned documents, and other non-textual data into the patient's electronic medical record. VistA Imaging can capture and manage many different kinds of images including:
- Clinical images such as those from endoscopy, pathology, dermatology, and cardiology
- Radiology and nuclear medicine images
- Scanned clinical and administrative documents
- EKG waveforms
Captured images are combined with text data to facilitate a clinician's task of correlating information and making timely and accurate patient care decisions.
VistA Imaging also serves as a tool to aid consultation among physicians and communication between a physician and patient - whether in the same department, in different services, or at different sites.
The VistA Imaging System's primary functions are:
- Clinical Image Display
- Image Capture
- Filmless Radiology
- Image Management
VistA Imaging benefits both the patient and the clinician.
Clinical Image Display
At VistA Imaging sites, images are typically viewed during rounds, conferences, procedures, consultations, and operations. Workstations are generally located in conference rooms, ICUs, and shared ward offices, as well as clinician's private offices. Clinicians often review images when placing orders or writing progress notes using the VA's Computerized Patient Record System (CPRS).
VistA Imaging provides the multimedia component of CPRS, and completes the online CPRS chart by providing ready access to medical images and scanned documents such as signed consent forms, advance directives, and drawings.
A patient's photo identification, EKGs, and a menu of thumbnail images are automatically displayed when a patient is selected in CPRS. Images are associated with progress notes and reports of radiology exams, clinical procedures, surgical operations, and pathology specimens. When an image is present, an image icon will appear to the left of the note title or report in CPRS. When the user clicks on the note or report, the associated images will be displayed for user selection and viewing.
In addition to providing access to local images, Imaging's Remote Image Views feature can automatically locate and allow clinicians to display images stored at any other VA facility in the nation, providing an integrated view of image studies to the clinician.
Facilities can also implement the VistA Imaging TeleReader for remote diabetic retinopathy screening or for teledermatology. TeleReader allows images acquired at one facility to be read by specialists at other, centralized locations. This allows both greater convenience to the patient and better utilization of available interpreting specialists.
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Image Capture
Images may be captured in several ways:
- Using an image capture workstation with an input device such as a video camera, still digital camera, scanner, or a source of image files on its hard drive
- Using an automated interface such as a Digital Imaging and Communications in Medicine (DICOM) standard gateway
- Using the Clinical Procedures reports interface, or an interface to a commercial document system
Image capture workstations are typically located near the source of the images unless centralized scanning will be done. For example, an image capture workstation might be placed in the gastroenterology (GI) lab or pathology suite. The video output of the camera would be connected directly to the capture workstation itself.
Most radiology, ophthalmology, and dental images may be automatically captured using a DICOM gateway.
Captured images are incorporated into a patient's online medical record and can be viewed on workstations using clinical or diagnostic-quality display.
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Filmless Radiology
The VistARad diagnostic workstation allows radiologists to interpret radiology exams without printing film, providing a number of important features including:
- Customizable hanging protocols for optimized presentation of current and prior exams
- A "ReadList" function for automating reading session workflow
- Integration with voice dictation systems
- Remote image access allowing display of all of a patient's radiology exams regardless treating location (both VA and participating DoD sites)
- Radiology department workflow management to eliminate double-reads
- Teleradiology support for reading from CBOCs (Community-Based Outreach Clinics) or radiologists' homes
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Image Management
The VistA Imaging System includes a “core infrastructure†consisting of the following hardware components. These components provide short- and long-term storage and management of all images associated with a patient's medical record.
- Network servers, including magnetic and optical disk jukeboxes, for storage of images
- Network infrastructure including switches and cabling for communication of images
- DICOM gateway systems to communicate with commercial Picture Archiving and Communication Systems (PACS) and modalities such as CT, MR, and Computed Radiography (x-ray) devices for image capture
- A background processor that is responsible for moving the images to the proper storage device and for managing storage space
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Patient Benefits
- Better care because all patient data is available
- Improved continuity of care
- Fewer repeat procedures
- Decreased waiting times for patients
- Patients can see their condition and participate in treatment decisions
Clinician Benefits
- Simultaneous availability of patient images and data
- Less time spent locating images and more time used for treating patients
- Increased communication among clinicians
- Important role in conferences
- Enables remote consultation with specialists and shared off-hours and specialist coverage
- Efficiencies in radiology from filmless operation
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For additional information, contact the Department of Veterans Affairs Freedom of Information Act Service at www.oprm.va.gov/foia
Source: https://www.va.gov/health/imaging/overview.asp
Posted by: thanhaei10313r2einsteinwie.blogspot.com
Restaurant Management System Project Er Diagram
Hi there Itsourcecoders! This time we will tackle about the Library Management System and the essential ideas of its Dataflow Diagram (DFD levels). These knowledge and ideas gives you deep understanding on what does Library management system mean with its DFD levels 0, 1 and 2. You can have the Library Management System DFD Levels PDF by the end of this discussion.
Why is it important that we should study the essence of Library Management System DFD Levels? It is important to know the work of the library management to create the blueprint before building the core of the system.
A library management system is built and developed to manage all of a library's internal functions. A librarian is responsible for keeping track of new books as well as books that are borrowed by users, as well as their due dates. All of your library's activities are totally automated using this system.
A library management system is a piece of software that allows you to handle the manual functions of your library. From preserving book records to issuing a book, the program aids in the management of the complete library business.
Here's what you need to know.
The Data Flow Diagram (DFD) represents the flow of data and the transformations in Library management system. These transformations occurs as data enters and exits a system. In the DFD, input, processing, and output are used to represent and define the overall system.
Watch the video to see the whole explanation of Library Management System Data Flow Diagram DFD Levels 0, 1 and 2
The following outputs that a system can create or generate are included in the overall processing unit:
- The production will be a book, as the student will receive the book that they requested.
- The library information system should show information about the requested book so that the student can use it to help him or her choose a book.
These are examples of potential inputs:
- List of Book Request
- Borrowing transaction
- Library card
Library Management System DFD Level 0, 1 and 2
Time needed:10 minutes.
Here's the Dataflow Diagram levels 0, 1 and 2 and its step-by-step way on how to create a Library management system DFD.
- DFD for Library Management System Level 0
To start with, let us familiarize what is library management system level 0.
The library management system level 0 is also known as context diagram. It's supposed to be an abstract view, with the mechanism represented as a single process with external parties.
This DFD for library management system depicts the overall structure as a single bubble. It comes with incoming/outgoing indicators showing input and output data.
In this data flow diagram you will see the general process done in library management. This will also serve as a guide as you go through the deeper processes of the library management system data flow diagrams.As you see, when you build the levels of data flow diagrams, the connections of the transactions and data also broadens and gets more specific.
- DFD for Library Management System Level 1
Next to the context diagram is the level 1 data flow diagram.
The content of library management system level 1 must be single process node from the context diagram is broken down into sub processes
In this level, the device must display or reveal further processing information.
The following are critical procedures to complete:
• Make a Book Request
• Topic-based searchThese procedures require information such as a list of authors, titles, topics, and bookshelves from which books can be located. This type of data is represented by a data store.
With being knowledgeable about the second level of the Library Management System DFD, you will know then its breakdown processes.In addition to that, this may also serve as your reference on how the inputs or data fed on the system. Then you will be also informed about the outputs that the system gives.
These processes shown in the DFD were all based on the concept of Library Management System.
- DFD for Library Management System Level 2
After presenting the library management system DFD levels 0 and 1, next to that is level 2.
Here's what you need to consider in creating data flow diagram level 2 for library management system.
• The Level 2 DFD for library management system should represent the basic modules as well as data flow between them.
• Since the DFD level 2 is the highest abstraction level, its library management system processes must be detailed that is based on the DFD level 1.Finally, after figuring the processes given in the system, the user will now have their request being processed.
In this level you will now have the ideas on where does the data inputs goes and inputs comes. Considering the the dataflow levels mentioned above, you can determine well the importance of breaking the processes into more specific manner.
The presented level not only shows you the detailed processes of Library management system, but also gives you precise destination of the data that flows in the system.This figure will also be your references as you make your own projects.
Additional Knowledge on DFD Levels of Library Management System PDF
What is Library Management System DFD level 0?
A context diagram is another name for it. With the mechanism represented as a single process and external parties it will be an abstract view. It depicts the overall structure as a single bubble with incoming/outgoing indicators showing input and output data.
The data flow diagram level 0 also considers the entire system to be a single process and emphasizes the system's interaction with external entities.
Context diagrams (level 0 DFDs) are diagrams in which the entire system is represented as a single process.
A single process node and its connections to external entities are depicted in Level 0 data flow diagrams.
What does a Library Management System level 1 DFD entail?
Level 1 DFDs provide a broad overview but go into greater depth than a context diagram. The single process node from the context diagram is broken down into sub processes in a level 1 data flow diagram.
A level 1 DFD lists all of the major sub-processes that make up the entire system. A level 1 DFD can be thought of as a "detonated view" of the context diagram.
A single production node and its relationships to external entities are depicted in Level 0 data flow diagrams. Level 1 DFDs provide a broad overview but go into greater depth than a context diagram.
The single process node from the context diagram is broken down into sub processes in a level 1 data flow diagram.
What does a Library Management System level 2 DFD entail?
The 2-level DFD delves even deeper into the concepts of 1-level DFD. It can be used to plan or record all of the specific/necessary information about how the system works.
Level 2 DFD is the DFD's highest abstraction level and represents the system's basic modules as well as data flow between them.
Conclusion
A Library Management System (DFD) data flow diagram's most significant function is to keep the software orderly. Data flow diagrams are used by programmers to plan exactly how their new program will achieve its goal.
So that completes our discussion fellas! And I hope that this article about Best Dataflow Diagram for Library Management System | DFD Levels 0, 1 and 2 with PDF will help you a lot.
Now let me ask you something. What have you learned through the discussion?
May this article help you with your projects in the future!
If you have inquiries or suggestions about Dataflow Diagram (DFD) levels 0, 1, and 2 for Library Management System PDF just leave us your comments below.
Keep us updated and Good day!
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Source: https://itsourcecode.com/uml/data-flow-diagram-library-management-system/
Posted by: thanhaei10313r2einsteinwie.blogspot.com
2013 Vw Passat Front Suspension Diagram
How to Replace a VW Vehicle Key
CCO/kaboompics/Pixabay
Misplacing your Volkswagen car key is frustrating enough, but what happens if you lose it permanently? You have no other option than to seek a replacement, but if you've never been in this position before, you may not have a clue how to get a new key. It turns out there are a few ways to do it.
Whether you're stranded somewhere or you lost your key at home, you need to get a VW key replacement as soon as possible. Here's a look at how to get a new key as soon as possible.
Write Down Your VIN Number
The first thing you need to do is jot down your vehicle's VIN number. Depending on the model of Volkswagen you own, the VIN may be in one of a few places. Most likely, it's located with the other VW dashboard symbols on the driver's side. It may also be on the door jam or on one of the rear wheels.
If you're having trouble locating it on the vehicle and your purchase documentation is long gone, you can find it on your insurance policy. The VIN is 17 characters long and consists of both letters and numbers. Make sure you write it down correctly, as this is an important detail when getting a new key from a locksmith.
Call a Locksmith
If you need quick access to your car and a new key right away, calling a locksmith is your best bet. Not only can a locksmith get into your vehicle, he or she can also help with a replacement key. If you own an older model Volkswagen, the locksmith will have to decode the locks in order to make a new key.
If you own a newer model, a locksmith can cut a new key based on a code for your car, and this requires your VIN number. Even if you have a key fob, getting a replacement from a locksmith is possible by allowing him or her to access the onboard computer for your vehicle. Make sure the locksmith has the ability to do this before hiring.
Get a New Key from Your Dealership
Another option is going to your Volkswagen dealership to get a new key. If you opt for this approach, you have to take a few things with you, including proof of ownership and your driver's license. Call in advance and ask if they require anything else.
Keep in mind your dealer has to order a replacement, so you won't have access to your vehicle right away. It may take two to three days. The dealer also needs the VIN number to place the order. Once the replacement arrives, they will have to program the computer so the replacement works if you have a newer model VW.
Understand the Cost
Unfortunately, getting a VW key replacement is going to cost you some money. If your car uses a fob, a replacement can be rather expensive. Expect to pay as much as $350. You may also have to factor in the cost of getting your car towed.
If you use a locksmith route, you have to pay for the service along with the key itself. Make sure you ask for a quote. Some locksmiths take advantage of people who are desperate and charge unreasonable amounts. However you get a new key, make sure to get a spare key made so this doesn't happen again.
Look for Keys Online
If you want to avoid paying hundreds of dollars for a new key, check for an online provider is an option. Many key dealers advertise their services on sites like eBay or Amazon. Keep in mind that replacing an older key is much easier. Some of these dealers can't handle newer keys or fobs.
However, with a little digging, you may be able to find someone who has the equipment and knowledge to make a new programmed key. If so, these sources may charge less than a locksmith or a dealership. Make sure you have the VIN and ask if they need any other VW engine specifications.
More From QuestionsAnswered.net
Source: https://www.questionsanswered.net/article/how-to-replace-a-vw-vehicle-key?utm_content=params%3Ao%3D740012%26ad%3DdirN%26qo%3DserpIndex
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The Subtle Art Of Not Giving Af Ck Pdf Download
The Subtle Art of Not Giving a F*ck - Mark Manson
Discover here a completely and unusual way to overcome the challenges of life!
Are you tired of personal development books that always carry generic information about how to be happy or "positive thinking always" approaches?
Well, this book completely escapes those ideas and helps us look at the world in a very different way, completely the opposite from the conventional!
Are you curious? So keep reading this summary!
About the book "The Subtle Art of Not Giving a F*ck"
In contrast to many self-help books, Mark Manson presents us with a cold, but engaging language, with a certain appeal to the expression "f * ck", the pressure that the present world imposes on us and how we should behave in this reality.
Although the choice of the word used by the author is somewhat "eccentric", it gives us genuine insights and expresses itself in a way that leads us to reflect on habits that we sometimes have to care too much about the wrong things.
About the author Mark Manson
Mark Manson is an author, entrepreneur and owner of a blog with his name. Also, it is the CEO and founder of Infinity Square Media LLC, company that works with Web management.
Known for being direct to the point and rough, there are people who like his texts and others that don't. As the author himself says:
"Some people say that I am an idiot, others say that I have saved their lives."
To whom is this book indicated?
The content of this book is suitable for all people who have an interest in personal growth and, of course, for those who have a good sense of humor!
Main Ideas of the book "The Subtle Art of Not Giving a F*ck"
- Know that "f*uck bottom on" is not the same as being insensitive or disinterested;
- Understand that an impression - and a more realistic perspective of the situation you are in - may help you with anxiety problems;
- Discover the importance of dealing with things greater than your "problems".
Are you intrigued? So keep reading this summary and understand Manson's point of view!
Download the "The Subtle Art of Not Giving a F*ck" Book Summary in PDF for free
Do you have no time to read now? Then download the free PDF and read wherever and whenever you want:
Overview: The Feedback Loop from Hell
Mason describes in his book what he calls the "Feedback Loop from Hell ": people are increasingly insecure, angry, and anxious to themselves because of today's society and its exhibitionist culture. But how so?
Some people have incredible lives - with beautiful girlfriends and expensive cars in the garage - traveling year-round to the most beautiful places on Earth.
It's hard for a "normal" person to not think of, as Mark says in the book, "Gee, whiz, I sure do feel like a cow turd today ". That is, thinking about these glamorous and interessant lives, called positive experiences, leaves us sad, what are negative experiences.
He says that's the reason for the whole problem, we need to stop caring about these things and accept our reality, as it's normal for things to go wrong, accepting that the world is the way it is.
Law of Inverted Effort
The author Mark Manson uses the concept of the philosopher Alan Watts called "Law of Inverted Effort" to express himself. The more we try to feel good all the time, the more unhappy we get. This is because "seeking something" only reinforces that we do not have it.
The book "The Subtle Art of Not Giving a F*ck" tells that this is where one enters into a cruel paradox: to seek the positive is negative, while the search for the negative is positive.
"The pain you pursue in the gym results in better all-around health and energy. The failures in business are what lead to a better understanding of what's necessary to be successful."
These are examples cited by the author on the law of inverse effort. That way, the things that really matter in life are those in which you overcome the related negative feelings. So you become more charismatic, confident and prepared.
Overview: The Art of not giving a f*ck
Understand that this expression does not mean that you should stop caring about things or do not submit or care about anyone; Such people are called by society as psychopaths.
So, Mark explains the true meaning of the expression used by him through three subtleties.
First Subtlety
"Not giving a f*ck does not mean being indifferent; it means being comfortable with being different."
One thing we need to have in our life: a goal. If your goal is to become, for example, the best ballet dancer in your city, you will have to overcome not only your competitors but probable discriminations (yes, they exist - be aware of this).
In this way, to achieve your goal you should not care about it and through much training, defeat, suffering, overcome all adversities and difficulties, gaining your position.
Second Subtlety
"To not give a fuck about adversity, you must first give a fuck about something more important than adversity."
It seems kind of obvious, but many times we get annoyed with trivial or useless things (believe me, there's a reason).
In his book "The Subtle Art of Not Giving a F*uck" Manson cites the example of an old lady who complained about a 30 cent promotion that was misinterpreted by her.
It's only thirty cents and the person gets irritated for nothing. Mark points out that this is a way for people to release all the unhappy feelings stored within them and that even these people do not really have a purpose to worry about.
So focus and invest your time and energy in what really matters to you.
Third Subtlety
"Whether you realize it or not, you are always choosing what to give a fuck about."
Manson explains that we are born and live our youth caring for everything and everyone. But as time goes by and life goes on presenting us with the most diverse experiences, we realize that most things have no relevance whatsoever.
He explains that our emotional becomes more selective, what can be called maturity. That is, we do not coexist anymore with the people we've tried so hard to impress.
As we get closer to an old age we lose much of our energy and our desire for the world decreases, so we become less concerned about things and accept our condition better, even with all the flaws.
Mark explains with this that we need to turn our attention to friends, family and the things we really enjoy doing.
Overview: The Value of Suffering
In this chapter, Mark Manson describes the story of Hiroo Onoda, who struggled for 30 years living in the forest with a single, well-defined purpose, never surrendering.
When found by Norio Suzuki, he returned to Japan facing a completely different reality from what he had known at the time of the Japanese empire.
In this way, Onoda felt happier living in the forest, lost in the middle of the wet bush, dedicating most of his life to a "ghost war", than in the new Japan of consumer culture and women wearing western clothes.
Mark explains that Onoda's purpose had meant and his suffering served a greater cause, so he was able to bear it and even like it.
At the end of the story, Manson brings us another reflection: "What are we suffering for?". It does not matter whatsoever, as long as there is meaning and relevance to you.
But be careful! Life is hard and the path of happiness is full of obstacles. A good way of not letting ourselves down and being healthy and feeling better is to admit it.
Okay, but how can I apply this to my life?
Mark portrays in his work that "not giving a f*uck" is something that many people find "cool" in other people. However, most of us have an impregnated habit in our consciousness to matter about what people think.
The author also says that linking the "you already know what" is not being indifferent, but rather a way of having the courage to be decisive and firm, to face the adversities in the environments we attend, personal and/or professional, and to create a proper mindset to your problem.
He says that the most irritated people are those who have unrealistic, fanciful and empty expectations of life and that, to succeed, we must get out of the comfort, focusing our attention on bigger problems that are more worthy!
Did you like this summary of the book "The Subtle Art of Not Giving a F*ck"?
So, did you like this content? Leave a comment so that we know your opinion because your feedback is very important to us!
Also, if you liked the ideals of Mark Manson do not hesitate to purchase the complete work, just click on the image below:
Note:
The content presented above reflects the vision and critical analysis of our team of copywriters, respecting the fundamentals of intellectual property in Brazil (Article 8, item I).
No part of the book is being copied. They are unique and exclusive content, always giving credits to the authors and indicating the link to purchase the complete work. Voitto respects the copyright code in accordance with the provisions of Brazilian law, Law 9.610 / 98.
This content is the exclusive property of Voitto and is protected by the Copyright Law in its Articles 46, I, (a) and 47, because this is not a reproduction and also does not imply any discredit, on the contrary, the moral right is protected and, as pointed out earlier, the reader receives a link to acquire the work. Reproduction of this material without the permission of the company is prohibited.
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The Art Of Dramatic Writing By Lajos Egri Pdf Download
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Reader Q&A
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Often in reading these relative prescriptive writing books (I'm giving myself a homemade MFA in creative writing right now by immersing myself in Shawn Coyne, Larry Brooks, Robert McKee, Christopher Vogler, Libbie Hawker...) I feel like the author is forcing their system onto a work, making it fit. Egri is no different.
However, the exercise of finding in my own work what Egri calls the Premise (which is kinda-sorta what Coyne calls the Controlling Idea and Brooks calls the Concept, and OMG *pulls hair*) -- that is, what *I* think the Premise is -- has helped me tighten the story up, nail it down, eliminate excess, etc.
Someone else might read my story (wouldn't that be great?) and take a different core meaning from it. But if I've done my job, the reader will take "my" meaning from it too.
PS Hi, total stranger on Goodreads. :D(less)
Community Reviews
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"First, if you want to w
I was introduced to this book by Paul Schrader (TAXI DRIVER) when I tried, unsuccessfully, to enroll in a screenwriting course he was teaching one quarter at UCLA Film School. About 50 students crammed into a room meant to accommodate ten, and the first thing he said was: "I'm not admitting any undergrads into this class. (I was an undergrad, so I was already out in the first five minutes.) However, I'm going to tell you a few things if you ARE an undergrad film student."First, if you want to write, you shouldn't be majoring in film. Go study history or literature or psychology...something that will actually give you something to write about later. Second, in my experience, the people who make it as screenwriters aren't the ones who want to make it. Everyone WANTS to be a screenwriter. You get to work at home in your pajamas, ride to the airport in limousines, fly first class and hang out on sets with incredibly interesting people. Who wouldn't want that? But the people who make it as screenwriters aren't the people who want to make it; they're the people who HAVE to make it. Third, if you want to be a screenwriter, go buy THE ART OF DRAMATIC WRITING by Lajos Egri. It's the best book on dramatic writing I've ever read."
That was...well, a long time ago, but his advice still holds true. I went out and immediately bought the book and inhaled it. It must have had some positive effect, because looking back years later, I realized I was the only one in my class who became a working screenwriter. I owe a lot of that success to Egri's book.
Much of the book may feel dated, and I have to admit I lost my copy and haven't looked at it in years. But I got two big, incredibly important takeaways from the book:
1. He has an entire chapter devoted to character biographies, including a very robust template for creating them. I began using this template before I even graduated, and have been using it ever since, first in scripts and now in books. Working from his template forces you to think about character attributes -- family life, parental relationships, schooling, physical characteristics and issues, psychological makeup -- that might otherwise get short shrift in the planning stage. Not only is it important when it comes to creating characters that come alive on the page, it also brings up ideas and possibilities that might otherwise never have occurred to you.
2. The second key piece in the book is THE PREMISE. Egri is an advocate of an ACTIVE PREMISE...i.e., theme. Things like: "Willful apathy leads to slavery." "Arrogance leads to ruin." "Hatred leads to destruction / isolation / misery (take your pick)."
His point was: make sure you have a point. You should be trying to prove something, anything, with your story. Not, "Loneliness sucks," but "Aloofness leads to loneliness." (Never mind whether these premises are trite.) I once read how Arthur Miller would work incredibly hard at nailing down his premise, so he knew exactly what he was trying to say. Then he would type out the premise and tape it onto his typewriter, so that every day when he sat down to write, he was reminded of what his premise was so he didn't stray off into tangents.
If you want to be a professional writer, this is an absolute MUST HAVE book. If you take nothing else from it, read the chapters on biographies and Premise, breath them in and make them a part of your creative process. It will save you a world of hurt and elevate your writing above 95% of the work out there.
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Lest you think I'm overstating the value of the work, I shall explain it to you in three easy steps.
1. What premise are you trying to prove? (This is not theme or plot summary, but the pl
Lest you think I'm overstating the value of the work, I shall explain it to you in three easy steps.
1. What premise are you trying to prove? (This is not theme or plot summary, but the plot should be obvious from it. For example, in "Romeo and Juliet," the premise is "Great love defies even death." "Macbeth": "Ruthless ambition leads to destruction.)
2. Find characters who, because of their very nature, must inevitably be led to choices that will prove the premise. (In a delicious twist, Egri illustrates this point by asking you to imagine what would have happened if Hamlet, the brooding Dane, had fallen in love with Juliet. By the time he got done soliloquizing, she'd have been married off to Paris and all that would be left to him was still more brooding and cursing his fate. Yet in his own play, his tenacity in uncovering his father's murderer fit perfectly.)
3. Fill your plot with conflict that exposes the characters' nature, so that in the end the reader will understand your premise and your characters.
Naturally, I'm leaving a lot out that is worth reading. Egri writes in a direct, instructional style that has lost favor to conversational style, but is eminently readable. The first half of the book, on premise and character, is directly applicable to all forms of dramatic writing (novel, short story, theater, television, film, even comic book), and it doesn't matter that this book was originally entitled "How to Write a Play" and as such, takes its examples from theater. The second half, on conflict and general writing advice, is still entirely valuable and still applies to non-theater writing, but must be synthesized before it can be applied to other media where dialogue is not the primary method of communicating to the reader.
Once you've read this book, you are completely without excuse if you write something boring or nonsensical. You'll also wonder why no one's ever explained drama to you so clearly before. Then you'll wonder why you haven't heard of the book when it was first published in 1938! That's pre-WWII, people. And a lot of lousy drama has been written since then. Dont' let yours be another.
...more![Sarah Cypher](https://images.gr-assets.com/users/1462293273p2/4673485.jpg)
The key is unity. Out of necessity, teachers of writing split the art of fiction writing into about five elements
If there is one book I cite more than Strunk and White's classic The Elements of Style, it is Lajos Egri's relatively obscure gem. I happened upon it thanks to a writer-friend of a writer-friend who took one of James Frey's (no, not that James Frey, may his plagiarizing soul fly to a million little pieces) master classes in fiction. And yes, Egri will help you write a damn good novel.The key is unity. Out of necessity, teachers of writing split the art of fiction writing into about five elements: character, plot, voice, setting, and theme (a.k.a. premise, in Egri's vocabulary). Yet any writer who has been learning the craft for more than a few years will begin to intuit the problem with this approach. The problem is the same one you have if you go to your kitchen, say, and set a stick of butter, a bag of chocolate chips, an egg, a cup of sugar, and a cup of flour next to one another. They don't turn into a tray of chocolate chip cookies. Likewise, writers must consider the elements of the novel in relation to one another, because the decisions we make about any one element has important ripples in all the others.
If this insight happens to strike for the first time while you're revising a complete manuscript, you will probably feel like you're wrestling with a ball of tar. Any positive change in one direction undermines some part of the story somewhere else. For example, say you realize that you're a natural at writing in first person. So you change the manuscript to first person. But the problem is that your protagonist is an aloof computer genius for the CIA. Her POV doesn't sound right in first person, so... Congratulations. You've just discovered the unified nature of fiction.
Lajos Egri has a solution. The trick is to plan first, write second. He divides the story-building process into three parts: (1) premise (a.k.a. theme), (2) character, (3) conflict. That is, first, decide on your theme: the meaningful emotional arc that organizes the story. Second, pick the very best character to embody that arc. Third, pick the very best conflicts to throw at that character, to allow him to naturally enact the theme. Egri provides many, many examples drawn from theater (the book is written for playwrights) that soon make this process seem intuitive.
...more![Francisco](https://images.gr-assets.com/users/1442487409p2/2986010.jpg)
![Katie](https://images.gr-assets.com/users/1575409334p2/238808.jpg)
![Rick Royster](https://images.gr-assets.com/users/1573797337p2/13793537.jpg)
![Kunjila Mascillamani](https://images.gr-assets.com/users/1499988740p2/29609809.jpg)
Why you needn't read the whole book: It is boring. The writing is crap for a book that is telling us how to write a play. It is redundant. The style and format suck This segment is for filmmakers or readers in general who would like to skip some reading. I am collecting books that are no fun to read and stating the essence of it here also telling you why you needn't read it. This time the book is Lajos Egri's The Art of Dramatic Writing: Its basis in the creative interpretation of human motives.
Why you needn't read the whole book: It is boring. The writing is crap for a book that is telling us how to write a play. It is redundant. The style and format suck. So i will just tell you what the book says that might be useful so that you don't have to go through the poorly edited 134 pages. I am not joking. There are even spelling mistakes!
Also, this is a very old book so sexism is all over it. It's annoying to any sensible person trying to learn something trudging through sexism – however great the book is supposed to be.
1. Human character is the basis of everything
This is one lesson that the author gives again and again.
2. The most important thing you need to start writing is a premise.
Again something he says over and over again till we feel like murdering the person who coined the word itself.
About Premise
1. You need to practise penning down the premise. 'Every good play (or film) should have a well-formulated premise. There may be more than one way to phrase the premise, but however it is phrased the thought must be the same,' he says. (Paranthetical is mine)
2. This premise is not that difficult to arrive at even though it might sound that way from some examples. For example, 'bragging leads to humiliation' is a premise and it sounds stupid. But your story has to have a premise like this.
3. One way to deal with this problem is to understand that the premise has three parts.
a) Character
b) Conflict
c) End
So in the example of 'bragging leads to humiliation,' the 'bragging' is character, 'leads to' is conflict and 'humiliation' is the end.
4. There can only be one premise.
About character
1. All characters should have three dimensions
a) Physiology
b) Sociology
c) Psychology
In other words, the physical attributes of a character, the social setting, upbringing influences a character and justifies their actions. The combined effect of these two will reflect in their psychology and that will influence the character a great deal as well.
Throughout the book we are told that the author's approach is dialectical. I would call it boring but yes, like the book says, this is a method by which something is said, written or done by following the following approach: All movement is comprised of these three steps
'First, statement of the proposition, called thesis. Then the discovery of a contradiction to this proposition, called antithesis, being the opposite of the original proposition. Now, resolution of this contradiction necessitates the correction of the original proposition, and formulation of a third proposition, the synthesis, being the combination of the original proposition and the contradiction to it.'
It is basically what we want our (Facebook) arguments to be but they never are.
2. All characters should grow
I call it an arc. Egri says, 'There is only one realm in which characters defy natural laws and remain the same – the realm of bad writing' I agree. Thanks.
3. This change or arc should match the physiology, sociology and psychology of the characters.
4. These things can be learned through observation or by observing those who have observed before you – which is why we need to read great books by great authors, watch great films by great filmmakers etc. We are observing them to see what they observed and how.
5. Everything – plot, conflict etc. stem from character and all of this should in the end prove the premise.
6. You need to have a pivotal character – also called 'protagonist'. This person must be the one with the highest stakes. (He says that in A Doll's House Krogstad is the pivotal character and i vehemently disagree. It is Dora.)
7. Characters should be well orchestrated. That is, they should not all be the same type. 'If all character are the same type – for instance, if all of them are bullies – it will be like an orchestra of nothing but drums,' says Egri. Orchestration is having contrasts in characters of your play or film.
8. Even if characters are well orchestrated, they need to have 'unity of opposites'. It means that both or all characters should have conviction and should not give up on their ideals mid-way. 'The real unity of opposites is one in which compromise is impossible,' he says. Unity of opposites is when opposites – for example, the hero and the villain are united by their will. This unity can only be broken by death of the dominant quality in one of the characters. For example, if we have a rational person and a superstitious one in a film or a story or a play, one has to succeed and the other fail.
About conflict
1. Action cannot happen by itself. It is a result of factors that cause it. 'We cannot find action in a pure, isolated form, although it is always present as the result of other conditions. It is safe to say, we conclude, that the action is not more important than the contributing factors which give rise to it.'
2. Conflict is of four types.
a) Static
b) Jumping
c) Slowly rising
d) Foreshadowing
The names mean just what they say.
Static is when a character makes a decision but lacks the strength to carry it through
Jumping is when the person decides something all of a sudden provoked by almost nothing
'Rising conflict means a clear-cut premise and unity of opposites, with three-dimensional characters.
'Every rising conflict should be foreshadowed first by the determined forces lined up against each other.'
3. It is possible that we do things upon impulse in real life but in fiction, we have to fully justify it using tools used in fiction – like the rising conflict.
4. Conflict springs from character. To quote, '…if we wish to know the structure of conflict, we must first know character. But since character is influenced by environment, we must know that, too. It might seem that conflict springs spontaneously from one single cause, but this is not true. A complexity of many reasons makes one solitary conflict.'
5. '…if you foreshadow conflict you're promising the very substance of existence.' – which is why we should do it, is what he means. 'Since most of us play possum and hide our true selves from the world, we are interested in witnessing the things happening to those who are forced to reveal their true characters under the stress of conflict. Foreshadowing conflict is not conflict yet, but we are eagerly waiting for the fulfilment of the promise of it. In conflict we are forced to reveal ourselves. It seems that self-revelation of others or ourselves holds a fatal fascination for everyone.'
6. The point of attack – this can be called the inciting incident for screenplay writers – it has to come at the right place. 'A good point of attack is where something vital is at stake at the very beginning of a play.'
7. Even though transitions happen in seconds in real life, in fiction, it is necessary to make it smooth so the audience can see and understand it. 'The author has to take all the steps which lead to the conclusion, whether that conflict happened in just that way or in the person's mind.'
Regarding dialogues
1. '…every line of your play, every move your characters make, must further the premise.'
2. In life, people quarrel year in, year out, without once deciding to remove the factor which causes the trouble. In drama this must be condensed to the essentials, giving the illusion of years of bickering without the superfluous dialogue.
3. 'Only a rising conflict will produce healthy dialogue.'
4. He gives a couple of good examples of good dialogue and how it is achieved.
About Shakespeare, 'The sentences in his philosophical passages are weighty and measured; in his loves scenes lines are lyrical and flow easily. Then, with the mounting of action, sentences become shorter and simpler, so that not only the sentence content, but the word and syllable content, vary with the development of the play.'
'The dialectical method does not rob the playwright of his creative privilege.' I agree with this. A lot of people say that this approach just limits. Especially film school people hold the opinion that anything with structure is death. I disagree. 'Once your characters have been set in motion, their path and their speech are determined, to a great extent; but the choice of character is completely your own. Consider, therefore, the idiom your people will employ, and their voices, and methods or delivery. Think of their personalities, and backgrounds, and the influence of these on their speech. Orchestrate your characters, and their dialogue will take care of itself. When you laugh at The Bear, remember that Chekhov gained his bombast and ridiculous dignity from a bombastic character played against a ridiculously dignified one. And in Riders to the Sea, John Millingyon Synge sways us to the tragic yet lovely rhythm of people who employ harmonious rhythms which are not identical. Maurya, Nora, Cathleen, and Bartley all use the accent of the Aran Islanders. But Bartley is swaggering, Cathleen patient, Nora quick with youth, and Mauraya slow with age. The combination is one of the most beautiful in English.'
5. 'The dialogue must stem from the character, not the author.'
Genius
'The extraordinary mental power of a genius is not necessarily strong enough to create his success. First, one must have a start, an opportunity to deepen one's knowledge in a chosen profession. A genius has the ability to work at something longer and with more patience than any other man.'
Something to practise while narrating your story
'If you must read your work to someone, ask that person to tell you the moment he begins to feel tired or bored.'
'A play should start with the first line uttered'. In films, it should start with the first frame and first sound.
'…"exposition" should proceed constantly, without interruption, to the very end of the play.' – cramming information into dialogues in patches here and there will not work. Audience should understand what you are exposing in the flow of the film/play.
Egri says that the 'obligatory scene' is not really a thing. It just means a scene that will prove your premise the best – and by its nature, it has to be there in all work of fiction.
![Ben](https://images.gr-assets.com/users/1624828610p2/84452136.jpg)
Egri often fails to elaborate on his constant exhortations, and outright discounts plays without explaining why. I found myself frustrated by his pedantic style of prose, and his decision to straw-man most of his opponents' arguments didn't exactly do much in favour of his cause. This is a shame, as his theory does have some merit, and I often agreed with what he was saying. In the hands of another writer, this could
Despite the author's best intentions, this ultimately made for a tiresome read.Egri often fails to elaborate on his constant exhortations, and outright discounts plays without explaining why. I found myself frustrated by his pedantic style of prose, and his decision to straw-man most of his opponents' arguments didn't exactly do much in favour of his cause. This is a shame, as his theory does have some merit, and I often agreed with what he was saying. In the hands of another writer, this could have easily made for a stimulating read.
That said, I can't exactly say that I wasted my time here. If you're looking for some Henrik Ibsen propaganda, look no further.
A brief aside, but I get the impression that Egri is a bit of a sexist: so far as I can recollect he only references a female writer once, and even then it is begrudgingly. His aesthetic theories are also rather lacklustre: he speaks of geniuses of great men specifically, and art as the perfection of the universe, and acts as if both of these revelations are both comprehensive in their own right and even remotely insightful. Overall, I get the impression that Egri wrote this book to lord it over his students, and his readers in turn. How people are willing to look past its latent sexism and the incessant arrogance of its author is beyond me. It is arduous.
...more![Chuck O'Connor](https://images.gr-assets.com/users/1374603082p2/2009436.jpg)
Egri's approach is that of a naturalist and Socratic philosopher.
He bases his theory on observed phenomenon and allows illustration from example to prove his hypothesis. He then provides an approach using dialectics to encourage and challenge potential emotional resistance to the ideas.
The strongest and most exciting notion within this work is Egri's insistence on premise as the essential component for playwriting. My fledgling experience as a serious writ
This is a masterpiece of instruction.Egri's approach is that of a naturalist and Socratic philosopher.
He bases his theory on observed phenomenon and allows illustration from example to prove his hypothesis. He then provides an approach using dialectics to encourage and challenge potential emotional resistance to the ideas.
The strongest and most exciting notion within this work is Egri's insistence on premise as the essential component for playwriting. My fledgling experience as a serious writer seems to prove this insistence. When I know what I am attempting to argue at a philosophical level I am more able to focus the action of the story and the characters towards that reality.
Egri provides compelling reasons for premise and then deepens this knowledge with a concern for character where the realization of character is the plot's essence. I enjoy the fact that Egri holds to a philology that does not seek after mysticism within creativity's fancy but rather demands discipline with known dramatic elements observed over time.
He channels A Darwinian sensibility of what is real towards the hope for an illumination of what is true.
If you love stories I recommend reading this wonderful guide book.
...more![Mario the lone bookwolf](https://images.gr-assets.com/users/1588320656p2/78485297.jpg)
Please note that I put the original German text at the end of this review. Just if you might be interested.
With his works "Dramatic Writing" and "Literary Writing," Egri has created two profound and detail-by-detail guides that illustrate the creative process, clearly describing how to fail or shine. In the present "Dramatic Writing," the focus is primarily on the dramaturgy of the theater,
For character development, character formation and recognition of style faults tremendously useful helperPlease note that I put the original German text at the end of this review. Just if you might be interested.
With his works "Dramatic Writing" and "Literary Writing," Egri has created two profound and detail-by-detail guides that illustrate the creative process, clearly describing how to fail or shine. In the present "Dramatic Writing," the focus is primarily on the dramaturgy of the theater, which is in no way limited to use for Victorian stage monologues.
On the contrary, new perspectives open up for related scripts and fiction. For literature, the advice can be useful in the creation of dialogue and character, choice of narrative speed, structure, effects of subsequent changes, premise and the design of conflicts. In contrast to pure scribal advisors, Egri's work has the advantage of being able to do without explanations on specific literary problems and techniques and to be able to focus entirely on language and characters.
As a result, the personal development is carried out in a detailed manner and by numerous, well-comprehensible examples that are rarely found in the broader advisory literature. The performers somewhat subordinate and incidental also premise and conflicts are treated. Since these are but incessantly associated with the people of work and their character and motives must adapt to ensure tension, credibility and reading fluency, they play according to Egri rather the second fiddle.
Everything stands and falls with personalities that are realistically presented to perfection. Even lacking such a clever plot or rousing conflicts about the deficits in the empty pods that lead to these events cannot be deceptive.
Egri's advice is not so much an infallible one but rather practical examples of how to do it right, but not necessarily. Too rigorous compliance, on the contrary, threatens a tendency towards stereotypical figures and predictable storylines. Unless you are close to the championship or at least already well versed. Moreover, who can say that already?
Many subsequently easier to change aspects than the Dramatis Personae such as environments, details of the plot and sequence of scenes are mentioned only marginally or not at all. Necessarily, the essence and elixir of life of every halfway believable entertaining medium are real and comprehensible alternate personalities. These act three-dimensionally and accurately according to their mentality.
If cracks and gaps arise that lead to logic errors and implausible, superficial dialogues and abstruse actions that do not suit the characterization, there is a threat of shrinking from public interest to the resignation termination of the reading process. One of the few shortcomings of the work is the tendency of the author to articulate long and extravagant comparisons, metaphors and references to natural sciences. And also in the practical instructions to repeat long and wide. The second is understandable, as necessary for understanding.
The long and especially after decades no longer current and correct digressions in non-thematic areas would not have been necessary. The excess harmed the original purpose of the pictorial representation for better illustration. An intellectual self-adulation that is slightly detrimental to the work and unnecessarily lengthens it. I recommend the principle of reading over.
Even with some of the more extended excerpts from, in German-speaking countries mostly unknown, works would have been less. The fact that these are no longer up-to-date cannot be held up to the author, in contrast to other points of criticism.
The disadvantage lies in the more inadequate and more cumbersome applicability in practice since this writing style is antiquated and many examples can be more challenging to implement in contemporary literature. In summary, Egri's advice has influenced generations of authors and writers. Especially in the further development of his concepts towards a better use for contemporary literature will be a challenge for future faculties of creative writing.
Für Charakterentwicklung, Figurenbildung und Erkennung von Stilfehlern ungemein nützlicher Helfer
Egri hat mit seinen Werken „Dramatisches Schreiben" und „Literarisches Schreiben" zwei profunde und Detail für Detail den Schaffungsprozess veranschaulichende Ratgeber geschaffen, die auf verständliche Weise beschreiben, wie man scheitert oder brilliert. Im vorliegenden „Dramatischen Schreiben" liegt der Fokus primär auf der Dramaturgie des Theaters, was sich aber in keiner Weise auf die Nutzung für viktorianische Bühnenmonologe beschränkt.
Im Gegenteil eröffnen sich für artverwandte Drehbücher und auch Belletristik neue Perspektiven. Bei Literatur lassen sich die Ratschläge besonders bei der Dialog- und Charaktererstellung, Wahl der Erzählgeschwindigkeit, Aufbau, Auswirkungen von nachträglichen Änderungen, Prämisse und Konzipierung von Konflikten hilfreich einsetzen.
Denn im Gegensatz zu reinen Schreibratgebern birgt Egris Werk den Vorteil in sich, ohne Erklärungen zu spezifisch literarischen Problemstellungen und Techniken auskommen zu können und sich gänzlich auf Sprache und Charaktere fokussieren zu können. Dadurch wird die Personenentwicklung in einer Detailliertheit und anhand zahlreicher, gut nachvollziehbarer Beispiele vollzogen, die man in breiter gestreuter Ratgeberliteratur selten findet.
Den Darstellern eher nachrangig und nebensächlich werden auch Prämisse und Konflikte behandelt. Da diese aber unaufkündbar mit den Menschen eines Werks verbunden sind und sich deren Charakter und Motiven anpassen müssen, um Spannung, Glaubwürdigkeit und Lesefluss zu gewährleisten, spielen sie laut Egri eher die zweite Geige. Es steht und fällt alles mit bis zur Perfektion realistisch dargestellten Persönlichkeiten. Bei deren Fehlen kann auch kein noch so gewitzter Plot oder mitreißende Konflikte über die Defizite in den leeren Hülsen, die durch diese Ereignisse führen, hinweg täuschen.
Die Ratschläge Egris sind weniger unumstößliche Regeln, sondern eher praktische Beispiele, wie man es richtig machen kann, aber nicht muss. Bei allzu rigider Befolgung droht im Gegenteil eher eine Tendenz zu klischeehaften Figuren und vorhersehbaren Handlungssträngen. Sofern man nicht der Meisterschaft nahe oder zumindest schon sehr versiert ist. Und wer kann das schon von sich behaupten.
Viele nachträglich leichter als die Dramatis Personae zu ändernde Aspekte wie Umgebungen, Plotfeinheiten und Szenenabfolgen werden nur am Rand oder gar nicht erwähnt. Im Kern sind die Essenz und das Lebenselixier eines jeden halbwegs glaubwürdig unterhaltenden Mediums real und nachvollziehbar agierende Persönlichkeiten. Diese handeln dreidimensional und akkurat ihrer Mentalität entsprechend. Entstehen Risse und Lücken, die sich zu Logikfehlern und unglaubwürdigen, oberflächlichen Dialogen und abstrusen, nicht zu der Charakterisierung passenden Handlungen steigern, droht das Schwinden von Publikumsinteresse bis hin zum resignativen Abbruch des Lesevorgangs.
Zu den wenigen Mankos des Werks gehört die Tendenz des Autors, sich lang und ausschweifend mittels Vergleichen, Metaphern und Bezügen zu Naturwissenschaften zu artikulieren. Und sich auch in den praktischen Hinweisen lang und breit zu wiederholen. Zweiteres ist nachvollziehbar, da für das Verständnis notwendig. Die langen und vor allem nach Jahrzehnten nicht mehr aktuellen und richtigen Exkurse in themenfremde Bereiche wären jedoch nicht notwendig gewesen. Dem ursprünglichen Zweck der bildlichen Darstellung zur besseren Veranschaulichung wurde durch das Übermaß Schaden angetan. Eine intellektuelle Selbstbeweihräucherung, die dem Werk eher abträglich ist und es unnötig in die Länge zieht. Es empfiehlt sich das Prinzip des Überlesens.
Auch bei manchen der längeren Ausschnitte aus, im deutschen Sprachraum weitgehend unbekannten, Werken wäre weniger mehr gewesen. Das diese nicht mehr zeitgemäß sind, kann man dem Autor im Gegensatz zu anderen Kritikpunkten nicht vorhalten. Der Nachteil liegt in der schlechteren und umständlicheren Anwendbarkeit in der Praxis, da dieser Schreibstil antiquiert ist und sich viele Beispiele dadurch schwerer auf Gegenwartsliteratur umsetzen lassen.
Resümierend betrachtet haben die Ratschläge Egris Generationen von Autoren und Schriftstellern beeinflusst. Gerade in der Weiterentwicklung seiner Konzepte hin zur besseren Nutzbarmachung für die Gegenwartsliteratur wird eine Herausforderung für zukünftige Lehrkörper des kreativen Schreibens liegen.
![Nancy](https://images.gr-assets.com/users/1355844082p2/800056.jpg)
However, for a gutsy stance on how plays work, this is the place. It was (honestly) news to me that a play needs a "premise" and that you could boil Ibsen's Ghosts down to "The sins of the fathers are visited upon the children."
Do poems need premises, too? Perhaps much less dramatic premises? Something like, "It is fun to say the letter 's' a lot."
Books with
For some reason, I thought this would help with writing poetry. (Then again, I look at my cat and hope that will help with writing poetry.)However, for a gutsy stance on how plays work, this is the place. It was (honestly) news to me that a play needs a "premise" and that you could boil Ibsen's Ghosts down to "The sins of the fathers are visited upon the children."
Do poems need premises, too? Perhaps much less dramatic premises? Something like, "It is fun to say the letter 's' a lot."
Books with "rules" for art are always exciting -- because you want to prove them wrong but are thrilled to think them possibly true.
...more![Janet](https://images.gr-assets.com/users/1442438866p2/1421407.jpg)
![Melissa Ellis](https://images.gr-assets.com/users/1442495733p2/3636318.jpg)
![Joel Miller](https://s.gr-assets.com/assets/nophoto/user/u_50x66-632230dc9882b4352d753eedf9396530.png)
![raShit](https://images.gr-assets.com/users/1580999422p2/44347175.jpg)
![Alexx](https://images.gr-assets.com/users/1439250980p2/18280785.jpg)
![Akku Noetis](https://images.gr-assets.com/users/1586074505p2/7050124.jpg)
![Sohail](https://images.gr-assets.com/users/1480538770p2/46029368.jpg)
![Feliks](https://images.gr-assets.com/users/1445015906p2/5085729.jpg)
His speechifying is loopy and inane at numerous times throughout the thesis. For instance, to drive home a very trite homily about 'the part being sacrificed to the whole' he trots out an utterly preposterous and incredible parable about ' !@#$%^&*uste Rodin chopping off a part of one of his statues'. The parable itself, takes up a whole page and may not even be true.
Although chock-full of historical references, aphorisms, folk-sayings, fables, and epig !@#$%^&*...all sorts of bric-a-brac culled from everywhere under-the-sun; this is nonetheless wifty and unsupported theorizing. He's not saying anything new and he's also saying it in quite a vexing manner. Pass!
...more![Hannah Spencer](https://images.gr-assets.com/users/1332989040p2/5623786.jpg)
I also learned about tridimensional characters, unity of opposites, points of attack, and the waves that conflict should come in. Another one of Egri's points was that "art is not the mirror of life, but the essence of life." So we ought to condense our writing down to that essence.
Some of the examples were long and made me lose interest, but overall I really enjoyed reading this instructional and useful book! I can't wait to try out his framework!
...more![James](https://images.gr-assets.com/users/1453315414p2/667234.jpg)
Essentially, Egri explores the psychology of both characters and audience and how they interact. He devotes quite a few very short chapters to specific and detailed aspects of storytelling, and e
One of the books often cited in other works on writing fiction, and after reading it I can see why. This is a great exploration of the structuring of successful stories. It focuses on playwriting, but almost everything the author says applies equally well to writing novels, short stories, or screenplays.Essentially, Egri explores the psychology of both characters and audience and how they interact. He devotes quite a few very short chapters to specific and detailed aspects of storytelling, and every piece of guidance he offers comes with reasons and examples good and bad. I'll be using this as a reference; I'm glad some other authors of how-to-write books recommended it in their own works.
...more![Merlin Mann](https://images.gr-assets.com/users/1628850796p2/158708.jpg)
Some passages were too repetitive or slightly overemphasizing the point
Fantastic book on writing. Not as slick and accessible as McKee, yet that only adds to the author's high degree of integrity. His points are still sharp and very well argumented - the best for me was how he kills of the distinction between "character-driven" and "plot-driven". All good plots come from good characters, i.e. one does not make sense without the other - and his analysis of different plays is extremely convincing.Some passages were too repetitive or slightly overemphasizing the point, but still this book is one of the best on writing - ever.
...more![Jenni](https://images.gr-assets.com/users/1370625309p2/7898979.jpg)
I started this with a 4-star rating, but given that it took me over six months to force myself to finish it, I had to downgrade it for not keeping my interest.
Good, solid advice, but hard for me to get through. I didn't like having to plow through examples of bad writing to get to the examples of good writing. It did help to have many of his points illustrated through several famous plays, such as Hedda Gabler and Macbeth.I started this with a 4-star rating, but given that it took me over six months to force myself to finish it, I had to downgrade it for not keeping my interest.
...more![Brad](https://images.gr-assets.com/users/1332967204p2/8449267.jpg)
Ergi has valid - perhaps in some instances even unique - arguments and observations about playwriting and holds the whole artform up to very high standards. He calls theme "premise" and is very straightforward about his belief that charcaters must drive conflict, but the result is a solid demystification of dramtic writing.
However, he is a bit aloof throughout the book, which, personally, I found strangely appealing.
I cannot speak highly enough about this book!Ergi has valid - perhaps in some instances even unique - arguments and observations about playwriting and holds the whole artform up to very high standards. He calls theme "premise" and is very straightforward about his belief that charcaters must drive conflict, but the result is a solid demystification of dramtic writing.
However, he is a bit aloof throughout the book, which, personally, I found strangely appealing.
...more![Andrew](https://images.gr-assets.com/users/1206727741p2/1024287.jpg)
![Kristen Cummings](https://images.gr-assets.com/users/1295925046p2/4751676.jpg)
Here's a tip: If you really want an insider's look at scriptwriting for film, grab any of Linda Seger's works. They're much more informative and well written.
This is possibly one of the most boring circuitous approaches to screenwriting you may ever come across.Here's a tip: If you really want an insider's look at scriptwriting for film, grab any of Linda Seger's works. They're much more informative and well written.
...more![Ke](https://images.gr-assets.com/users/1432496131p2/4795974.jpg)
Still, I recommend this book to anyone who wants to create round and unforgettable characters.
![Serge Pierro](https://images.gr-assets.com/users/1343000233p2/11190201.jpg)
This is a great book on dramatic writing. Egri's specialty is his use of characters, and this book is no exception, as he shows how to develop them in dramatic conflict. Although geared towards plays, the methodology is applicable to novels and other forms.
...more
![Gary](https://images.gr-assets.com/users/1442457136p2/343537.jpg)
[ this was the textbook at both ucla & sc when spielberg, copolla, lucas, etc. were at film school ]
![Kate](https://images.gr-assets.com/users/1189537240p2/358837.jpg)
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