Tropes Quotes
The best sayings about Tropes that you can share on Instagram, Pinterest, Facebook and other social networks!
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I have written it before and am not ashamed to write it again. Without Wodehouse I am not sure that I would be a tenth of what I am today -- whatever that may be. In my teenage years, his writings awoke me to the possibilities of language. His rhythms, tropes, tricks and mannerisms are deep within me. But more than that, he taught me something about good nature. It is enough to be benign, to be gentle, to be funny, to be kind.
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I feel like we can prove in real time the old trope that comedy is tragedy plus time.
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Some tropes are universal. Boy meets girl. Betrayal and revenge. The search to discover a hidden truth.... A mother's love isn't cliché, it's universal. These things are archetypes. They're the building blocks of myth and legend. They are a big part about what it means to be human.
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Anywhere, anytime, I'd sacrifice the finest nuance for a laugh, the most elegant trope for a smile.
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I've read there is no such thing as a single tear, that old poetic trope. And perhaps there isn't, since hers was simply a companion to my own.
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I don't think it is as a trope or as something in our psyches. There's very little wilderness out there but there is wild mind, and the Wild mind that actually, as Gary Snyder says, wants to take care of things. There's an elegant quality to the wild mind.
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I have a great amount of respect for the audience. They know narrative construct. They know all the tropes.
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One of the things that bugs me about the Western Literary Tradition is that the conventions of narrative in particular seem to confine the stories you can tell about characters to tropes of bone-headed action and old models of psychological realism. And as readers, too, we have been conditioned to understand characters as - and forgive me for saying it out loud - what the market says they should be. Namely, safe, clean, proper.
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One path I've used a lot is to deeply and thoughtfully consider a trope or a tradition, and then set about taking it apart - but only in the service of a character or story that deserves it. Another path I often employ is to put form into "play" - to set it free from its ordinary constraints and let it be free-floating and broken-apart and rearranged.
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Audiences are hungry for something different. With binge-watching, they're hungry for interesting content they haven't seen before, and they want to be entertained. A lot of shows are grim, murky and dark. We wanted to spin away from the obvious, the tropes, the cliches and what people are doing right now, and do something different.
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To call ourselves a Microcosme, or little world, I thought it onely a pleasant trope of Rhetorick, till my neare judgement and second thoughts told me there was a reall truth therein: for first wee are a rude masse, and in the ranke of creatures, which only are, and have a dull kinde of being not yet priviledged with life, or preferred to sense or reason; next we live the life of plants, the life of animals, the life of men, and at last the life of spirits, running on in one mysterious nature those five kinds of existence, which comprehend the creatures not onely of world, but of the Universe.
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I always wanted to create a project that would allow me to think about cross cultural relationships and hybridization but did not want to use my personal story or standard tropes of multiculturalism.
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Some facts in life are immutable. One is, trust no-one who uses the word 'trope'.
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Hence, when some members of the Iranian diaspora, especially women at the moment, use different tropes including the trope of the veil and the issue of gender to construct an image of oppression or to describe the 'silenced' Iranian woman, western intellectuals, policymakers, and publishing houses are all quick to introduce them as presenters of the authentic Iranian experience.
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Do proper homage to thine idol's eyes; But no too humbly, or she will despise Thee and thy suit, though told in moving tropes: Disguise even tenderness if thou art wise.
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A fashionable idea in technical circles is that quantity not only turns into quality at some extreme of scale, but also does so according to principles we already understand. Some of my colleagues think a million, or perhaps a billion, fragmentary insults will eventually yield wisdom that surpasses that of any well-thought-out essay, so long as sophisticated secret statistical algorithms recombine the fragments. I disagree. A trope from the early days of computer science comes to mind: garbage in, garbage out.
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In movies and TV, we tend to fall into tropes about how characters might get out of problems. But when you look at real life, you realize that there is a lot of drama of not being able to get out of the problems.
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Star Wars film is breaking all previous box office records. (Why might we want to revisit those characters, that narrative, those jokes and tropes again, in this way, right now? I wonder what it will turn out to reveal about the economics and politics of this moment.)
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What I like about narrative in general is when there is some incongruity between the form and content. Let's say, mixing up the gothic with a coming-of-age narrative. Telling a love story that's also a monster story. Mixing up superhero tropes with your monster tropes. I like category confusion.
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My novels tend to come about from a fusion of two big ideas, creating a critical mass that then fissions, throwing off hundreds of other particles, riffs, tropes and characters.
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I should probably confess that I get bored easily, which explains my reluctance to work with formula, tropes, whatever.
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After the horrific massacre Wednesday at the French weekly satirical magazine Charlie Hebdo, perhaps the West will finally put away its legion of useless tropes trying to deny the relationship between violence and radical Islam.
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I think we're always trying to avoid tropes. And I think that "Game of Thrones" has almost made killing people a cliche. For us, it wasn't about that. For six episodes, it's hard to invest in people, and I think when you kill a main character on television it really needs to mean something. So we certainly had talked about that, and I think we managed to juggle the ball to make a gripping, interesting and compelling finale. We feel that we didn't have to go there at this point because we had such few episodes.
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I think the idea was to make a horror film that became a science-fiction film with a lot of melodramatic tropes.
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Oh, the foghorns... even the foghorns, they're all brass. It's something by Ingrid Marshal called Fog Tropes. It's not a sound effect. It's an actual piece of music. If you listen to what's going on after he has a flashback about his wife you'll hear... it sounds like the humpback whales in a way. But it's all music. And we use it again later, too.
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Moving cities are a fairly hoary old sci-fi trope - I seem to recall they were always cropping up on Doctor Who when I was young, though I may be misremembering.
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I love the of dealing with the homoerotic versus the idea of dealing with certain tropes with regards to black masculinity in the world, propensity towards sports, antisocial behavior, hypersexuality - all of these sort of non-truths that I don't exist in but that I see as being fixed in the world's imagination.
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Self-reinvention is an essential trope of the American project, closely linked to another such trope: going on the lam. Both are regularly featured in movies and novels and suchlike. Criminals and persons loitering with and without intent hold a crucial place in the culture. For obvious reasons, the culture cannot endorse this behavior, even as it is in thrall to it.
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For me there is a poesis, a poetics, around the trope of the road that is embedded within many life experiences of the people I've been close to.
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For someone who is starting out on developing their critical skills, just being aware of its existence is great: it can make the difference between trying to write a story around a cliche or an original idea, and better still, studying it can eventually clue you in on how to breathe new life into tired tropes.
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Top Authors
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David Strathairn Actor -
Derek Magyar Actor -
Della Reese Actress -
Diane Lane Actress -
David Shannon Author -
Delia Parr Author -
Derrick Jensen Author -
Diane Mott Davidson Author -
David Price Baseball player -
DeLisha Milton-Jones Basketball player -
Deontay Wilder Boxer -
David Malpass Economist -
Diane Coyle Economist -
David Slade Film director -
Denis Law Football player -
Dennis Kucinich Former U.S. Representative -
David Shore Lawyer -
David Pajo Musician -
Derek Ibbotson Olympic athlete -
David Moore Photographer -
David Mamet Playwright -
David Williamson Playwright -
Deb Matthews Politician -
Deborah Prophet
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Derick Hougaard Rugby player -
Deodatta V. Shenai-Khatkhate Scientist
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Dianne Holum Speed Skater -
David Meerman Scott Strategist -
Dean Heller United States Senator -
David Small Writer
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