John Adams Theibert Jr.'s Blog
April 28, 2013
My Five Star Rating System
I have created my own unique system to do reviews based on the five-star rating system and the Five Elements of Storytelling. I am currently looking for indie authors to review with fantasy debut novels out, preferably with dragons. If you fit this profile I look forward to giving you a timely and honest review based on my review system. I don't just give cursory opinions I try to delve into the five elements of storytelling (as I see them) individually.
Below is the system I have come up with for giving reviews for full length novels:
In writing this review of TITLE OF BOOK by Author of Book, as with any review I do, I will be referring to each star of the five-star rating system as individual elements of the story. Each star is divided into two parts, of which each part can receive half a star. The five elements of storytelling are: Idea, Plot, Characters, Setting, and Theme. Idea is divided into the parts: Hook and World; Plot is divided into the parts: Conflict and Climax; Characters is divided into the parts: Development and Dimension; Setting is divided into the parts: Scenes and Senses; and Theme is divided into the parts: Lesson and Epiphany. As this is not a critique, I will not go into much detail, not only to ward off spoilers, but also for brevity's sake. In the case that there is a half star attached to the rating I will use the Conclusion section as the tie breaker. The Conclusion section will consist of Style and Grammar. I will give + ½ star for a good rating in this section and -½ star for a poor rating in this section.
I normally give reviews in 1 week from receiving the book.
Below is the system I have come up with for giving reviews for full length novels:
In writing this review of TITLE OF BOOK by Author of Book, as with any review I do, I will be referring to each star of the five-star rating system as individual elements of the story. Each star is divided into two parts, of which each part can receive half a star. The five elements of storytelling are: Idea, Plot, Characters, Setting, and Theme. Idea is divided into the parts: Hook and World; Plot is divided into the parts: Conflict and Climax; Characters is divided into the parts: Development and Dimension; Setting is divided into the parts: Scenes and Senses; and Theme is divided into the parts: Lesson and Epiphany. As this is not a critique, I will not go into much detail, not only to ward off spoilers, but also for brevity's sake. In the case that there is a half star attached to the rating I will use the Conclusion section as the tie breaker. The Conclusion section will consist of Style and Grammar. I will give + ½ star for a good rating in this section and -½ star for a poor rating in this section.
I normally give reviews in 1 week from receiving the book.
April 26, 2013
THE FIVE ELEMENTS OF STORYTELLING continued…
The element character is the water element of storytelling. Dynamic and fluid, characters interact in dialogue and actions like water flowing from tributaries into streams and rivers. Characters provide the life's blood of the story coursing through its veins and pulsating through its arteries. Characters have a vital part to play in the life of the story is vital as water is to life itself. Although, it is said that characters make this story or the characters are the story, it is more accurate to say that characters saturate the story with life. Characters are also as different from one another as the different kinds of water channels that flow throughout the land. Some characters are full of action or drama just like some rivers have rapids. Some characters are the central players in the story and can be seen as the broad main river of the story. Some characters have only small parts to play and trickle in to the story quickly and then are absorbed. Some stories have many characters and thus they produce an intricate interplay that delivers the flowing waters of storytelling.
The element setting is the earth element of storytelling. The setting is the structural frame and support; backdrop and foreground; landscape and cityscape; in which the story happens. Like the ground underneath our feet the setting cannot be taken for granted. It is a feature of storytelling that should be as rich and varied as the earth itself. Stories can be set in many different places such as: forests, deserts, tundras, mountains, glaciers, or volcanic regions. To truly appreciate a setting not only should it be vividly visually understood, but also all five senses should be brought to bear to describe it and bring the setting to life. Forests have many fragrances, flavors, sounds, and textures that are particularly related to them. Such as the scent of pine, the sound of woodpeckers, the sweetness of honeysuckle, the prickliness of pinecones. Thus, the setting is an integral and essential part of storytelling.
The element theme is the spirit element of storytelling. The theme provides a way to reach Nirvana, Enlightenment, Zen, or any higher state of consciousness within the story. The theme is the central truth of the story its lesson, its benefit, its depth of understanding. This ethereal element, theme, of storytelling is the essence of the story. It allows the story to have a greater purpose and meaning to go beyond the physical realm and to establish itself as an icon of greater perception. Sometimes a theme delves so deeply into the consciousness that it begins to interact with the reader's subconscious and provides an epiphany. These epiphanies completely change their reader's perception of the world, their life, or nature in general. Thus, the theme of the story possibly provides the greatest and longest lasting effect on the reader of any of the elements of storytelling.
In conclusion, there are actually two other elements of storytelling that I would call the rare earth elements style and grammar. Style is the metal element of storytelling. Style can brighten a story with its shiny presence, from clapping the cymbals of humor to coining a phrase. Style can also provide proper pace at which the story takes place, from the speeding of a bullet, to the slow movement of a barge. The understanding of how all the other story elements fit together, transitioning between them, and bridging the gaps from one to another is the mainstay of style. Grammar, on the other hand, is the wood element of storytelling. Grammar has rigid yet sometimes flexible rules which are easily broken yet are also just as easily fixed. Grammar can be seen as the framework of the story made from many kinds of timber, from the beams of sentence structure to the joists of word usage. Thus style and grammar are elements that influence the main five elements of storytelling.
The element setting is the earth element of storytelling. The setting is the structural frame and support; backdrop and foreground; landscape and cityscape; in which the story happens. Like the ground underneath our feet the setting cannot be taken for granted. It is a feature of storytelling that should be as rich and varied as the earth itself. Stories can be set in many different places such as: forests, deserts, tundras, mountains, glaciers, or volcanic regions. To truly appreciate a setting not only should it be vividly visually understood, but also all five senses should be brought to bear to describe it and bring the setting to life. Forests have many fragrances, flavors, sounds, and textures that are particularly related to them. Such as the scent of pine, the sound of woodpeckers, the sweetness of honeysuckle, the prickliness of pinecones. Thus, the setting is an integral and essential part of storytelling.
The element theme is the spirit element of storytelling. The theme provides a way to reach Nirvana, Enlightenment, Zen, or any higher state of consciousness within the story. The theme is the central truth of the story its lesson, its benefit, its depth of understanding. This ethereal element, theme, of storytelling is the essence of the story. It allows the story to have a greater purpose and meaning to go beyond the physical realm and to establish itself as an icon of greater perception. Sometimes a theme delves so deeply into the consciousness that it begins to interact with the reader's subconscious and provides an epiphany. These epiphanies completely change their reader's perception of the world, their life, or nature in general. Thus, the theme of the story possibly provides the greatest and longest lasting effect on the reader of any of the elements of storytelling.
In conclusion, there are actually two other elements of storytelling that I would call the rare earth elements style and grammar. Style is the metal element of storytelling. Style can brighten a story with its shiny presence, from clapping the cymbals of humor to coining a phrase. Style can also provide proper pace at which the story takes place, from the speeding of a bullet, to the slow movement of a barge. The understanding of how all the other story elements fit together, transitioning between them, and bridging the gaps from one to another is the mainstay of style. Grammar, on the other hand, is the wood element of storytelling. Grammar has rigid yet sometimes flexible rules which are easily broken yet are also just as easily fixed. Grammar can be seen as the framework of the story made from many kinds of timber, from the beams of sentence structure to the joists of word usage. Thus style and grammar are elements that influence the main five elements of storytelling.
April 11, 2013
The Five Elements of Storytelling
I believe that stories, in the genres of fantasy and science fiction, contain five elements, idea, plot, characters, setting, and theme. Those five elements could be equated to the five elements air, fire, water, earth, and spirit.
The element idea is the air element of storytelling. It is ordinarily developed while breathing in deeply and contemplating, looking up at the clouds, or watching the wind blow the trees. The idea of the story can be divided into two subcomponents, hook and world. The hook of the story is what gets you to read the story after the first few sentences. The world of the story is what gets you to read it after the first few chapters. They are both just as important. A good hook can intrigue, interest, or motivate someone about reading the book. However, if the book does not have a hook it might be put down after the first paragraph. A book with a good world will enlighten, immerse, or fascinate the reader with the story. However, if the book does not have a good world someone reading it might grow tired after the first few chapters because of lack of continued reinforcement of interest.
The element plot is the fire element of storytelling. It is the element that starts with furious combat and ends with explosive power. When coming up with a plot often a heated argument is involved between interested parties. A quest or mission is undertaken by a hero. And a journey ensues which is full of perilous danger. Ultimately the hero or protagonist must face the villain or antagonist. Plot can be broken up into the subcomponents conflict and climax. Conflict is the subcomponent of plot that drives the actions of the hero, their companions, the villain, and their minions. A book with good conflict can cause tension to increase and will provide enthusiasm for the reader beyond the first couple of chapters, however; a book without a good amount of conflict will not create tension or increase enthusiasm and the reader will feel bored and want to quit. Climax is the subcomponent of plot that occurs at or near the end of the story. Climax brings resolution to the conflict between the protagonist and antagonist and their forces. A good climax can spike adrenaline for the reader and be a payout for their investment of time and energy in reading a full-length novel. Contrariwise, and anti-climactic ending to a book can make the reader's fulfillment feel deflated and might cause them to regret having read the story. Any chance that they might read a sequel will be greatly reduced if the climax is not good.
To be continued...
The element idea is the air element of storytelling. It is ordinarily developed while breathing in deeply and contemplating, looking up at the clouds, or watching the wind blow the trees. The idea of the story can be divided into two subcomponents, hook and world. The hook of the story is what gets you to read the story after the first few sentences. The world of the story is what gets you to read it after the first few chapters. They are both just as important. A good hook can intrigue, interest, or motivate someone about reading the book. However, if the book does not have a hook it might be put down after the first paragraph. A book with a good world will enlighten, immerse, or fascinate the reader with the story. However, if the book does not have a good world someone reading it might grow tired after the first few chapters because of lack of continued reinforcement of interest.
The element plot is the fire element of storytelling. It is the element that starts with furious combat and ends with explosive power. When coming up with a plot often a heated argument is involved between interested parties. A quest or mission is undertaken by a hero. And a journey ensues which is full of perilous danger. Ultimately the hero or protagonist must face the villain or antagonist. Plot can be broken up into the subcomponents conflict and climax. Conflict is the subcomponent of plot that drives the actions of the hero, their companions, the villain, and their minions. A book with good conflict can cause tension to increase and will provide enthusiasm for the reader beyond the first couple of chapters, however; a book without a good amount of conflict will not create tension or increase enthusiasm and the reader will feel bored and want to quit. Climax is the subcomponent of plot that occurs at or near the end of the story. Climax brings resolution to the conflict between the protagonist and antagonist and their forces. A good climax can spike adrenaline for the reader and be a payout for their investment of time and energy in reading a full-length novel. Contrariwise, and anti-climactic ending to a book can make the reader's fulfillment feel deflated and might cause them to regret having read the story. Any chance that they might read a sequel will be greatly reduced if the climax is not good.
To be continued...
April 7, 2013
Forging a Path Ahead
I am thinking of getting into poetry with a fantasy theme, faeries, dragons, forests, caves, darkness… the deep places of the world. They shall be poetry with verses that pitch and sway; dart and dance; scan and peer; telling and showing stories; cobbling together imagery and sensory metaphors and similes into works that dredge the bogs of my imagination. Those bogs are full of fog and mist; bubbles and foam; croaks and groans... they form a vague confabulation of what is to come and what once could have been.
The works will be inundated with the richness of vision and sensation that exist in all things, yet for things that might not exist, but might; dreams; whims; illusions that form a backbone, and can be added to, with vast detail and descriptive clarity. Clarity enough to distinguish flakes of skin; wisps of hair; glints of drool; pulsating of arteries; hints of fragrance; traces of whispers.
The works will be inundated with the richness of vision and sensation that exist in all things, yet for things that might not exist, but might; dreams; whims; illusions that form a backbone, and can be added to, with vast detail and descriptive clarity. Clarity enough to distinguish flakes of skin; wisps of hair; glints of drool; pulsating of arteries; hints of fragrance; traces of whispers.
April 6, 2013
Paving the Bumpy Road
I have just e-published my books that I have worked on for 14 years. One is a sci-fi work called THE PLAN OF ARIEVLEX and the other is a fantasy book called THE DRAGON STRATAGEM, SOUL BLASTER. They are a culmination of struggle, vision, passion, and creativity. The road to the e-publishing dates (each early 2013) was a bumpy dirt road through a festering bog of confusion and chaos. Now that they are published I will begin to pave the road through the bog and hope readers will find it much more pleasant a journey than I did.
Check out my books' website http://www.arievlex.com
They are available on kindle by kindle Direct Publishing (a free program for all curious authors out there).
I found it impossible to get an agent for traditional publishing so when I found out about kindle Direct Publishing I quit looking for one and just self published. I tried to find an agent for four years sending out thousands of query letters and getting hundreds of rejections. I found through reading "how to write" fantasy/sci-fi books like:
Athans, Philip; Salvatore, R. A. (2010-06-18). THE GUIDE TO WRITING FANTASY AND SCIENCE FICTION: 6 Steps to Writing and Publishing Your Bestseller! . F+W Media, Inc.. Kindle Edition.
Brooks, Larry (2012-01-01). STORY ENGINEERING, MASTERING THE 6 CORE COMPETENCIES OF SUCCESSFUL WRITING . F+W Media, Inc.. Kindle Edition.
That my stories were not really what commercial publishers were looking for; I call what I do dark horse writing as opposed to traditional commercial writing. I change the archetype and overturn the apple cart in my writing. I use concepts that become intertwined in the story in layers and can be seen emerging throughout. Traditional commercial writing follows specific formula, but dark horse writing can adapt to the story and compensate for lack of formulaic strategy with thinking outside of the box.
Check out my books' website http://www.arievlex.com
They are available on kindle by kindle Direct Publishing (a free program for all curious authors out there).
I found it impossible to get an agent for traditional publishing so when I found out about kindle Direct Publishing I quit looking for one and just self published. I tried to find an agent for four years sending out thousands of query letters and getting hundreds of rejections. I found through reading "how to write" fantasy/sci-fi books like:
Athans, Philip; Salvatore, R. A. (2010-06-18). THE GUIDE TO WRITING FANTASY AND SCIENCE FICTION: 6 Steps to Writing and Publishing Your Bestseller! . F+W Media, Inc.. Kindle Edition.
Brooks, Larry (2012-01-01). STORY ENGINEERING, MASTERING THE 6 CORE COMPETENCIES OF SUCCESSFUL WRITING . F+W Media, Inc.. Kindle Edition.
That my stories were not really what commercial publishers were looking for; I call what I do dark horse writing as opposed to traditional commercial writing. I change the archetype and overturn the apple cart in my writing. I use concepts that become intertwined in the story in layers and can be seen emerging throughout. Traditional commercial writing follows specific formula, but dark horse writing can adapt to the story and compensate for lack of formulaic strategy with thinking outside of the box.
