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Realism And Twenty-first Century Storytelling—A Reprise

I think there’s something else not particularly real in twenty-first century stories, no matter how real the computer generated characters might appear. We could chalk this up to “that’s just movies” if it weren’t for the fact that screen writing is beginning to dominate the way we write novels, too. · Rebecca LuElla Miller

Realism And Twenty-first Century Storytelling

I think there’s something else not particularly real in twenty-first century stories, no matter how real the computer generated characters might appear. We could chalk this up to “that’s just movies” if it weren’t for the fact that screen writing is beginning to dominate the way we write novels, too. I’ll characterize this unrealistic phenomenon as too much conflict. · Rebecca LuElla Miller

Realism And Twenty-first Century Stories

If all characters are victims of disaster, I suggest readers or viewers stop caring and start looking for the “out.” Will the character die and come back? Have a narrow escape? Have a death that only looks like death? In truth, all the arguing and betrayal and refusal becomes–predictable and boring and unrealistic. Soon the characters seem more like caricatures because none acts with nobility or courage or hope. All display their flawed selves with so little inner struggle. And this, we’ve come to believe, is realistic. · Rebecca LuElla Miller

Lord Of The Fantasies: Beyond The Swordfights

In “The Lord of the Rings” films, elf-maiden Arwen almost joined the fight at Helm’s Deep, and King Aragorn almost dueled the dark lord Sauron. But the movie-makers chose otherwise. How come, and how does this show truly rare heroism? · E. Stephen Burnett

Lord Of The Fantasies: The Nature Of Men

Changes made from book-Faramir to film-Faramir, from “The Lord of the Rings,” reflect two approaches of showing human nature. Stories should reflect both: our bent toward sin and corruption, and our capacity to do good and act with nobility. · E. Stephen Burnett