To make a StoryIn order to make a story
Feeling a story EPIC!
Nowadays, the term'epic' is often used, but before it was used for YouTube movies, skateboard moves and a sandwich, the word was initially used for a certain kind of verbal poetic. From then on, "epic" has been transferred to other artistic forms: theater, films, fiction, music, TV.... even videogames.
Initially describing works with a theme of epic travels, knightly myths or great pilgrimage, the concept is now more generously used on any work that tells a story of adequate size, importance and powerful. Samplesse pour Epen moderne Moby Dick de Herman Melville, Dune Serie de Frank Herbert, A Song of Ice and Fire Serie de George R.R. Martin, Infinite Jest de David Foster Wallace, Jerusalem d'Alan Moore, Border Trilogy de Cormac McCarthy et The Lord of the R.R. Tolkien de J.R. Tolkien.
A lot of authors - especially phantasy authors or sci-fi authors - try to provide their own works with the strength of the epos, but this is a challenge. Creating an epos means to spend lessons / day / month carefully designing the different parts of your storyline. Nothing can be ignored in an epos - not your lineup, not your settings, not the history of your history.... nobody said it would be simple to make it happen epically.
Let's discuss the most important things that can make your storyline seem truly new. That might seem ostensible, but in an epos, it depends on the number. That is true for most of your book: the extent of your occupation, the width of your globe, the length of your global past, the complexities of your culture, the pure number of words, and so on.
Grab the unbelievably beloved A Song of Ice and Fire franchise; even the protagonists are gigantic. The Harry Potter novels, which have many epoxy quality (after all, J. K. Rowling was a classic), also offer their readership enormous castings and networked worldviews. However, beyond bringing together different people in a big universe, there are other dimensions to consider: the number of sub-plots you can wrap around the core storyline, the complexities and length of your world's historic time line, the number of topics you want to explore, the number of issues you want to explore, and the number of issues you want to explore.
The more modern epiphanies have a tendency to undermine in an interesting way traditionally epical structure. However, no care what they accumulate or how they do it, all epen have greatness in common. What do they have in common? No. I briefly discussed the importance of settings and the universe in creating an eponymous novel, but it's certainly a worthwhile thing to think about.
Obviously, it won't be the mere magnitude - anyone can post about a million miles long deserts or about copy-paste fancy cities that are in painful balance on worn out trophies. It' taking a little more to turn a huge globe into something exciting and credible. Martin's hugely acclaimed A Song of Ice and Fire franchise is built on the Rose War, and you can wager that George was reading a few dozens of storybooks on the topic before he put them down on the scrap heap.
Similarly, you can wager that David Foster Wallace took contemporary US civilization apart bit by bit before he wrote Infinite Jest, and you can be sure George Orwell had a fairly good grasp of the extremes both of the politics of politics before he tried in 1984. One part of what makes 1984 so mighty, serious and important is the pure reality of his realism, and this reality is partly based on consequence.
Commenting on many facets of bourgeois existence, from the roles of the arts to the boundaries of individual expressiveness to the roles of nourishment, Orwell brings his terrible, distressing environment to the full. To make the happenings in your storyline bear this dramatic significance, you must build a storyline abound.
Finally, the A Song of Ice and Fire series' principal storyline is only so strong because it goes beyond the fussy quarrels of the dominant homes - the Under-Dead and the White Wanderers long before the House of Lannister or House Stark, and thus a sensible confrontation is made between this outdated menace and the more immediate inroads.
The same goes for the Lord of the Rings - Rohan and Gondor have their disagreements, the Baggins can't abide the Sackville Baggins, and the Dwarfs can't stop mumbling about the Fairies, but in the face of an old plague deeply rooted in a cryptic, horrible, isolated past, the Characters recognize that they must put their disagreements to one side.
If your character recognizes the importance of a certain story line, your audience will soon be there. After all, the 1984 Airstrip One would not be so dramatic if the book did not draw the reader's attention to a pre-Laparian Britain that prevailed before the novel's happenings, and Odysseus' trip to The Ulysses would not be quite so touching without Penelope and Ithaca at home.
When you can combine this Edenish atmosphere with the motivation, hope and fear of your character, then all the better - nothing increases the tragedy as much as your own war. One action is simply not enough in an epos. The most rectilinear of epics - Take The Lord of the Rings - pays attention to throwing its many different draughts.
One advantage of having more than one plot is that more of your environment is open to the readers. It introduces more people, experiences more culture, measures more landscape - and all this will help make your life seem realistic, which means that the tragedy seems in her. But a song of ice and fire is brillant.
With so many tangoes and sub-plots in this show and so many personalities that have been imported or slain, I have forgotten for a while what the main one was. Actually, I forget I was actually living in a word. And, just as we are not aware of the great storylines of our own life, oblivion of the main action in an epos makes a universe that felt realistic and intimate, which in turn means that the tragedy that arises will be all the more momentous.
In addition, several long storylines give you more room to evolve your character. I have not yet talked about the handicraft's part in the creation of an epos. In spite of my carelessness, the craftsmanship - the workmanship of your letter and the style choices you make in your letter - can really bring its own balance to bear when it comes to making a storytelling epos.
In it Cormac McCarthy is outstanding; while lyrics like Meridian do not have many of the technical features that characterize epoxy fiction, McCarthy's almost Bible approach assists in making the story telling occurrences of relevance to lives or lives. He has a one-of-a-kind, Bible view of the West epos through his ability to write and his resolve never to shun the courageous, important subject matter truth of man's experience: mortality, force, sex, anxiety and desire.
How is that for epoxy? Like you probably already understood, it is not an effortless job to write an epos. You have to design your own individual, singular universe, which you can then fill with character and storylines, and that will take more than a few short hours. But there are ways to make it simpler - working out your character, creating a coherent universe, adding an Evangelical story, and taking on an epoxy scripture.
They should also be free to draw a Tolkien and create a whole new one. Or for more great advices on the subject, see how to create an epic battle scene, how to make several antagonists in your storyline shine, and how to create a fascinating quest narrative.