Literary stamps list. The world through the eyes of a woman or Elena Yange's notes
ABC for a writer: how to write a book?
Sixteenth Meeting in the Literary Lounge
Plot stamps
From this article you will learn:
Those who closely follow the 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 behind the archetypes of heroes, see -, there were stamps of heroes - see, then after parsing plot archetypes, it would be logical to parse plot stamps. And so, let's get started.
Undoubtedly, critics and literary scholars have already delivered their verdict with one voice that the use of plot stamps is a sign of unprofessionalism. The author cannot come up with anything new and steals plots from geniuses! At the same time, critics forget to dig deeper and find out, oh horror, from whom the genius, in turn, "stole" a spectacular plot.
For example, I will give 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 it made them less popular? No.
By the way, for some reason, the famous Robinson immediately came to my mind ... And let Friday be a man, but his name was Friday! cool use stamp under its own seasoning, replacing love with friendship and worship ... And so the recipe is simple: we take stamp, adding know-how and…. Get a bestseller!
Why do I advocate the use plot stamps? Probably because I am a psychologist by profession. And anyone familiar with psychology knows that the most short cut lies to the heart of the reader ... now I will tell you a terrible secret ... And so, we will get the emotions we need if we use the already familiar to the reader plot.
Surprised? And there is nothing unnatural in this. Imagine being told about the vile behavior of a bad mother... How do you feel? Anger, condemnation, irritation, pressed against the children ...
It turns out that Shakespeare brazenly used stamp to make you approve of Hamlet's deeds, although he is an obvious killer! But after all, Hamlet, killing, took revenge. And his revenge was caused by the inappropriate behavior of his mother!
And if Shakespeare allowed himself such "liberties", then who will forbid you? Therefore, listing the most used plot stamps- savor them with me. What "goodies" 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. Strain your brains and transfer Hamlet to our time, he will be extremely relevant for lovers of bloody showdowns - a bunch of corpses and mysteries!
And do not forget to rename him at least George!
And now - The most common plot stamps
A heavenly creature falls to earth and falls in love with a mortal/mortal. Alternative option: a representative of a more advanced civilization falls in love with a native girl.
Everyone is chasing some kind of military secret or a magic shovel that rakes in money. The gizmo can change the course of history.
Main character transferred to a parallel world and there he becomes a god, a king, a hero or a wizard.
The apocalypse has come, people live in dungeons and fight against mutants.
The girl marries a foreigner. Acquaintance, ordeals at embassies and long-awaited love - everything is based on true events.
The hero is offered to take up the case (solve a crime, go on a trip, etc.), he initially refuses, but then, on reflection, agrees.
The hero takes revenge for the dead parents.
The hero or heroine falls in love with the villain/villainess, although he understands that this may cost his life.
The hero goes for advice to the sage, and he solves his problems.
The hero not only copes with enemies, but receives love and half the kingdom in addition.
Decisive duel between hero and 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 the crucial moment best friend betrays the main character.
And for the finale, a small gift to those who courageously read the article to the end. Working on plot, it is very difficult to come up with a spectacular twist in 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 news of the Literary Living Room.
See you soon, Elena Polyarnaya.
I just found out that I have not yet published this article on the BS. While this article may have been featured in one of our magazines, it may have been written for the 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 hardly understand 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 lacks so much.
Lit. stamp you can name a phrase or even a sentence that you may come across in the works of various authors writing in different genres.
A literary cliche is like a piece of a puzzle that closes the missing holes, and sometimes expresses the 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 language stamp. And, in my opinion humble opinion Each type has its pros and cons.
If we talk about plot cliches, then here the formula was derived a long time ago:
1.
Exceptional personality, sort of " Byronic hero", which differs from others in some way special qualities or knowledge.
But such an item is difficult to attribute to minuses, because reading about ordinary person without a king in his head, without conflict with society, with himself or without special abilities, it is simply not interesting. In this case, the genre determines the character of the hero and his behavior. If in dystopia a character struggles with the system based on his abilities, then in the fantasy of sword and magic the hero is distinguished by special skills or, conversely, by atypical inability.
Non-genre prose in this issue receptive to such personality clichés. If we talk about lyrics, then an intangible hero that no one understands can be found in six poems out of ten.
2. Path. The protagonist, stepping over all difficulties, stubbornly strides towards a special Goal, throwing villains along the way or fighting them in a fair fight. How fair the fight is is a moot point, because if the main character is involved in the fight, then we are sure in absentia 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 imitator follower).
If the two previous stamps can be attributed to the common ones that can be found in many works, then there are also no less popular clichés. For example, the hero’s reflections before the road to the great Goal (or even the 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 “wise man” (a caterpillar can also play this role, smoking a hookah), revenge for the dead parents, the salvation of everyone and everything, even if the world was on the verge of death. After that, as a rule, the hero begins to die, but a beautiful maiden or no less wonderful maiden rushes to his chest and fills the entire chest of the almost lifeless with tears, which, perhaps, have a miraculous effect.
Such stamps 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 story can be found through a book on the shelf of bestsellers. The author may have a truly amazing style or deep reflections, let in a florid haze between the lines. And the reader often stubbornly clogs into his own world and does not want to open various facets of literature, demanding from Google the titles of books certain genre. "A book similar to ..." - at least once each of us began his journey into a new work with these lines. And is it bad? It's up to you to decide.
However, let us return to the discussion of the main thing, namely, the speech stylistic stamp (hereinafter RSS). What is this fruit and what is it eaten with?
In fact, an extra unoriginal clarification that can be easily replaced or thrown away, but the author is sincerely sure that it is so beautiful and literary (often put intuitively).
Such a cliché can also be divided into two types: verbal and stylistic.
If we consider these types in parallel, then a stylistic stamp is a stylistic mistake in the text, which, according to the author and some readers, gives the text a certain beauty. There are a lot of similar errors, I propose to study (remember) some of them:
1 . Paronyms are words that are similar in sound but different in meaning. For example, language-linguistic, equal-equal, provide-present, learn-master and others. Agree that the incorrect use of the above words can lead to an erroneous understanding of the meaning: “Having given the person who entered to others, Mr. X sat down in the chair again” (having given - having given for use, do you feel the irony?).
2 . Tautology - a word, term, definition, repeating in a different form previously written. Very often the use of a noun together with an adjective. "Butter oil" is easy to spot in the text, you might say. Yes, if such words are nearby: “Along with these reasons, he was guided by a number of others. (next to - NEXT)” . It would be more logical to write "Along with these reasons, he was guided by others."
3
. Stringing words in the same case forms, close standing friend to friend. 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, the authors sometimes make mistakes with the cases themselves. To bring down this web, you can use the unions “to”, “which” or throw out a cumbersome word.
Solution: “To avoid danger”
Not only do the authors sometimes make mistakes with the cases themselves, they also put the same ones side by side. Eg,
In order to avoid the possibility of danger ... (not my example).
In order to bring down this web, you can use the unions "to", "which", but do not overdo it, which will also be considered a mistake.
Solution:
To avoid danger...
In general, stylistic mistakes that can be safely classified as clichés, great amount. But, alas, I have regulations, so let's move on to speech errors.
speech stamp- this is a cliché, which includes some “fashionable” words, phrases, phrases, images. Perhaps this representative is one of the most serious and dangerous literary clichés. A writer who uses such words cannot develop his own style, create an author's individuality, because he uses phrases that have already entered the history of clichés. For example, “the frost grew stronger”, “jump out like a bullet”, “footsteps resounded”, “going all the way”, “chest heaved high”, “eagle look”, “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 label 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 “phraseological units” is the problem of every novice author, and it cannot be avoided, one must fight. However, it is very convenient for the reader: there is no need to strain your brains, because such clichés evoke familiar images due to their popularity. That is why I dare to call this stamp literary device(Yes, philologists will 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, about the possibility of speculating on the same scene with different angles. Few people are interested in what exactly the author wanted to convey, and the majority yearns for a “head-on story”. Does it develop contemporary literature? No. Is there any chance to achieve real recognition with such a narrative? No. If the text is built on the above stamps, then your work will be labeled “light reading”, which will never enter the literary annals. However, you can argue.
Stamp (lit.) 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 a “clichéd” thought, imaginary “stylistic beauty”. Sets of fashionable words, phrases and phrases, themes and plots, stereotyped images, the inertia of “ready-made artistry” techniques affect 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 heading structures (“When...”, three juxtaposed nouns in the nominative case, etc.). The threat of S. is fraught with numerous "writer's excursions" to the country of childhood in modern Soviet literature, serial references to the images of a rose and a nightingale in Turkic poetry, rhymes like "mine - not melting". An uncritical attitude to Sh. interferes with the manifestation of creative individuality, making the writer and any speaking victim"inertia of style". But in different areas communication - in everyday life, in science, journalism, art. literature, etc. ‒ the relationship between the language, expression and stylistically neutral elements of the language (which are also constantly reproduced in speech) do not coincide. A sensitive artist always finds ways to transform Sh. (for example, the fashionable word “eye” is surrounded by the subtle irony of the line of the poet A. Mezhirov “Lords and kings look beyond the window ...”). The tendency of poetry to spread, to turn 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 signs of banal word usage, are mobile. So, the expression “with the 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 a 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 (lit.)" is in other dictionaries:
Wikipedia has articles about other people with that surname, see Balmont. Konstantin Balmont ... Wikipedia
To the history of the problem. Concept definition. Solution of the problem in dogmatic literary criticism. Evolutionist theories of Zh. Solution of Zh.'s problem by the "formal school". Ways of Marxist study of Zh. Theory of cast Zh. Thematic, compositional and ... ... Literary Encyclopedia
LITERATURE OF THE ERA OF FEODALISM. 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 broad sense however, sometimes they talk about P. l., having in ... ... Literary Encyclopedia
What are the most common mistakes in all literary works sent to the competition "Golden Pen"?
- If the beginning is teeming with literary cliches, like “the frost was getting stronger”, “the sun was setting”, “the wind was blowing”, “blue eyes”, “he turned pale”, “she turned pale” and like that, then no self-respecting member of the jury just read won't. If there are grammatical errors - too. A classic of the genre: “I help those who are at a loss in Russian language”. What kind of Golden Pen in this case can we talk about?
If there are repetitions of words: he, she, they, was, was, there were others - well, it's just unpleasant. Remember - Pushkin is strong in that 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 “beaten” characters from fairy tales like elves, trolls and fairies, as well as kings and princesses ... If in a poetic thing a verb rhymes with a verb, a noun with a noun, an adjective with an adjective, especially those of the same syllabic size, these are gross errors. They are justified only if there is an emphasis on just such a rhymed form of reverse. "Shoe and low shoes" - also not a rhyme! There is also the so-called "water", not visible to the author. These are superfluous quatrains, or sentences, or even entire pages, which can be easily abandoned. Avoid semantic and verbal tautology. Chekhov wrote, for example, his stories like this. Write, let him rest. Then the first couple of pages will be thrown away. And Hemingway was looking for a good opening phrase, like "the bell that tolls for you." If this phrase exists, consider that there is also a novel ... The same applies to the competitive work. Look for your personal courage! If there is courage in thought, consider that the feather is already on the lapel of your jacket!
From the article " Literary problems council countries.
In the above passage, the most gross of the errors encountered in the works of novice authors are indicated.
I was interested in the arrangement of priorities by the organizer of the competition: the emphasis is not primarily on the illiteracy of the majority of young writers, as, it would seem, one of the most important and acute problems of modern youth prose, but on the question of the admissibility of the use of so-called literary clichés in literary texts. Therefore, I would like to dwell on this topic in more detail.
According to the unanimous opinion of critics and sophisticated readers, stamps are the stigma that separates the chaff from the wheat, and the following set of clichés is unacceptable in quality literature:
"Tired, but satisfied", "the frost grew stronger", "jump out like a bullet", "blush embarrassedly", "open gullible eyes", "the first large drops of rain", "frost, silvered ...", "footsteps resounded", "woman amazing fate"," having gone all the way", "burning tea", "silence reigned", "rebellious curls", "in proud solitude", "hero of the occasion", "sunset, gilded ...", "terrible weapon", "tender haze", "ruddy apple", "hands like wings", " swan neck"," the wind is noisy in the ears", "the fog creeps", "sadness / sadness / melancholy in the eyes", "fur like velvet", "witch potion", "the face fogged / lit up with happiness", "the edge of reason", " righteous indignation", "insulted innocence", "unforeseen circumstances", "in futile attempts", "guardians of order", "sneer in the mustache", "sly squinting of the eyes", "hair / curls swept in a dream", "chest high heaving", "shaking all over with indignation", "face contorted with hatred", "pounce with congratulations", "the hero is not her novel", "everything went cold inside", "hot hugs", "green beauty", "the dream of the righteous" , "eagle look", "ice/cold look", "strong-willed chin", "unruly whirlwinds", "bottomless eyes", "thin as a reed", "tired and kind eyes", "colors of ripe wheat", "cornflower blue eyes ", "with unshakable confidence", "with a cheerful cunning", "laugh fervently", "grind his teeth in annoyance", "jumped up, ready for action", "impenetrable/pitch darkness", "annoyingly brush aside", "fragile blond creature "," panther's gait / cat's gait "," twilight fell on the city "," stingy male tear "," gentle girlish look "," chirping fun "," to look somehow in a special way ", "leave behind a vague feeling something joyful", "it was getting dark", "there was a smell of spring in the air", "her hair scattered over her shoulders like silk", "eyes like coals", "burn with passion", "to cling to her lips (or something else. ..)", "Snow is silvery / Moonlight", "gallant Frenchman", "prim Englishman", "mysterious Russian soul", " bright stars/ lush vegetation", "victim of passion / love", "the sun was setting", "the wind blew", "blue eyes", "he turned pale", "fragile psyche", "gloomy depths", "make eyes", "sensitive soul ", "quivering heart", "years rush like a horse", "time, evil executioner", "luxurious bloom", "light of the soul", "scales like gold / copper", "marble skin", "eyes like diamonds" , "got up from a creaky chair", "went to the open window", "meager dinner", "naive child", "noble warrior", "blush with barely restrained rage", "fall into an embrace", " Magic world childhood", "caring maternal hands", "the stern gaze of the father".
Poetic stamps:
"Blood-love-carrot-again-", "eternity-infinity", "I love-beg / offend-see" (as well as other verbal rhymes), "never-forever", "tears-dreams", "day-shadow "," house-tom-com", "warm-light", "sky-was not", "time-burden", "banner-flame", "memories-suffering", "rose-frost-mimosa".
Of course, this is far from a complete catalog of literary patterns, however, reading this selection of metaphors and images wandering from book to book, I noticed that some of the listed "stamps" are actually set expressions("cat's walk", "jump out like a bullet") and traditional descriptive devices that are important for conveying reliable information about external and internal features character ("cold / icy look") or the specifics of a particular phenomenon ("bright stars"). These are words-tags 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. “Of course, I can change the stamp, and, for example, declare that from now on I will consider “lantern” to be “light”, in 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 millennia. Therefore, it makes no sense to look for original designations for objects familiar to every person since childhood, and the use of stamps in such cases is justified and appropriate.
The inclination to include such phrases as "blue eyes" and "moonlight" among the forbidden clichés makes me suspect modern literary critics in incompetence. "Blonde/blonde with blue eyes", "mist creeping over the lake", "moonlight illuminating the paths" are no doubt stereotypical images inherent in 90% works of art, but these are forms invented not by people, but by that highest and no less stereotypical authority, which is usually called God or nature.
All human life consists of stamps. are repeated everyday situations, repeated thoughts and actions, smiles and tantrums, holidays and misadventures. The 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 wrapping it in a weave of ornate and colorful phrases, and the use of template formulations is just a way to activate emotional perception text, initially devoid of visual and auditory images. Skillful manipulation of stamps creates the illusion of simplicity of presentation, makes it possible to easily understand the events proposed by the writer or poet. When a person passes through the prism of consciousness long-familiar images and designations, 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 worth avoiding not clichés, 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 an extra word, it will always be wise to cross it out.
The most common plot stamps:
- The hero is offered to take up the case (to solve a crime, go on a trip, etc.), at first he refuses, but then, on reflection, he agrees.
- The hero takes revenge for the dead parents.
- The hero or heroine falls in love with the villain/villainess, although he understands that this may cost her/him life.
- The hero goes for advice to the sage, and he, having broken a little bit, solves all problems.
- The hero not only copes with enemies, but receives love and half the kingdom in addition.
Decisive duel between hero and villain.
- 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 protagonist.
Tip: Often a writer struggles for hours on a paragraph, but it doesn’t work out - even if you crack! Time flies, the matter stands, the author despairs. How to be? Write down the idea - what exactly should be reflected in this paragraph - and move on. You can even write a whole novel in this "cursive script", and then edit it.
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Everyone now seems to think they can create their own great and original fantasy work.
The trouble is that all these "great and original" creations actually turn out to be pathetic imitations. To be honest, we're already so sick of them that we've created this list. short comments which can be used for exams. We believe that if you're in the mood to write a fantasy novel, you should take this exam first. Even one single “yes” answer to any of our questions means failure, and you can immediately abandon your “promising” venture.
EXAM
1. Nothing important happens in the first 50 pages of your work?
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. Your creation is about young hero who grows up, acquires incredible abilities and finally defeats the super duper bad guy?
5. Does your work tell about a trip to the end of the world in search of an ancient artifact that will save the world?
6. Is there someone in your book who is capable of destroying this world?
7. The plot of your book revolves around an ancient prophecy about the Chosen One, who will save the world, and with it all the rest, leading the Forces of Good?
8. Is there at least one character in your work who exists solely to suddenly appear and supply the characters with information?
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. Your world is 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. Do you have in the book the type of "powerful, but stupid and good-natured warrior"?
14. Isn't there a "wise, mysterious wizard who refuses to completely dedicate the characters to a plan of action in view of some mysterious reasons of his own"?
15. 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 kidnapped first and then rescued?
17. Does at least one woman exist in the text only to represent the ideals of feminism?
18. Does the words “clumsy kitchen wench, much better with a frying pan than with a sword” fit at least one woman in the book?
19. And the words "fearless warrior, who is much more suitable for a sword than a frying pan"?
20. Can any character in your book be described as a "hard dwarf"?
21. What about a half-elf torn between his human and elven blood?
22. Haven't you made an elf and a dwarf inseparable friends, just as an original move?
23. Are all characters less than 1.5 meters tall only for comic roles?
24. Are you sure that ships serve only two purposes: fishing and robbery?
25. Do you know when the hay knitter began to be used?
26. On the map you drew for the novel, are there places like the Blasted Lands, the Forest of Terror, the Desert of Despair, or anything that contains the word Doom?
27. The prologue of your work is impossible to understand until you read the whole book ... or maybe even then - not very much?
28. Is this the first book in a planned trilogy?
29. And what about five and ten years?
30. Is your piece thicker than a New York phone book?
31. In the previous book, absolutely nothing happens, but you explain this by the fact that many more books separate you before the denouement?
32. Are you already writing prequels for book series that haven't even started yet?
33. Your name is Robert Jordan, and to get to this point you lied like a mangy dog?
34. Is the story based on an adventure you played in denjen?
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 "Beltuzalantal al'Grinskok"?
39. Orcs, elves, dwarves and halflings live in your world?
40. What about “orkens” or “gnomes”?
41. Is the name of one of your races preceded by the prefix "semi-"?
42. In one part of your work, the characters take a short cut, descending into the ancient mines of the dwarves?
43. Do you write battle scenes after you play 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 for Wizards of the Coast?
46. Do the taverns 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 fact it is not so at all?
48. Do the characters spend most of their time traveling back and forth?
49. Can one of your characters tell the others something to 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 unmistakably read "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 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, does anyone first fight with enemies for two hours in a row, dressed in plate armor, then ride a horse for another four hours, after which he has the strength to courteously seduce a lustful waitress into bed?
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, is anyone pierced through with a scimitar?
59. Is anyone in your book stabbed through despite wearing plate armor?
60. Are you sure that all swords weigh at least five kilograms?
61. Your hero falls in love with an impregnable beautiful lady, which, in the end, takes the same attack?
62. Most of jokes in your work is based on a play on words?
63. Is your hero able to withstand a lot of blows from a fantasy analogue of a ten-kilogram sledgehammer, but is still afraid of a fragile girl with a knife?
64. Are you really sure that a person, as a rule, needs more than one arrow in the chest to die?
65. Do you have any idea that the 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 jamming one barrel of mead after another?
67. Are you sure mead is just such a funny name for a beer?
68. Are there many different races in your work, 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 faithful servants for the smallest offenses?
71. Are you talking about warriors who constantly get into a fight, but drag a bard around with them, who doesn’t know how to fight at all, but plays the lute cool?
72. "Normal" is official language in your world?
73. All the surroundings in your work are crammed with tombs and crypts that are bursting with all sorts of magical artifacts and that no one has thought of looting 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!!!
