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It turns the essay's order of decisions into eight questions, with notes on what the essay states. 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It covers the passage's conditions for a short-story and how it separates the form from the novelette, tale and sketch. 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It summarises a thesis and a journal article on the four qualities historically asked of a gwangdae and on the debate over keeping a fixed version versus adapting to audiences. The sources do not test any of this for audio or screen work.","example":null,"tips":["Narration is judged on being dramatic and clear to the listener, not on voice alone.","A story that moved earlier audiences may not move modern ones; a consultant in the thesis raised that doubt about a filial-sacrifice tale.","Scholars disagree on whether a stabilised version is the original or a story that had not yet settled."],"categories":["T01","T07","T13"],"tags":[],"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null},"media":[]}},{"kind":"guide_preview","preview":{"schema":"guide-preview/v1","id":"art_01M5MTXA7ANZJYQZ3N7947F71T","type":"article","revision":1,"title":"How Burton's Thousand and One Nights ends each night mid-tale and nests stories inside stories","coverage":"For writers and agents planning serial or nested stories. It notes how the Nights cut off each night, how tales sit inside tales to four levels in one cycle, and how the frame ends through consequence. Based on Burton's volume 1 and the conclusion in volume 10 only; the middle volumes were not read.","example":null,"tips":["The nightly cut works because the wish to hear the ending is voiced inside the frame and answered by a decision each time.","Inner tales are told by characters to make an argument, so a nested story can serve the conflict of the story around it.","When counting nesting depth, say whether the outer frame is included; the Fisherman cycle reaches four levels only with the frame."],"categories":["T01","T18"],"tags":[],"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null},"media":[]}},{"kind":"guide_preview","preview":{"schema":"guide-preview/v1","id":"art_01M5MT7SRZWFSZZJT1FFYA74BZ","type":"article","revision":1,"title":"The unreliable narrator in narratology: four distinctions to make before writing or judging one","coverage":"For writers and reviewers of stories with narrators who mislead. It gathers vocabulary from two Living Handbook of Narratology entries: wrong versus insufficient telling, causes, effects on the audience and narrator type. It is a synthesis of two reference entries, not a method tested on scripts.","example":null,"tips":["Unreliability can come from circumstance, such as limited knowledge, or from the narrator's disposition; label which.","Reliability can shift between stretches of one narration, so judge it passage by passage.","The idea applies to a narrator presented as reporting facts; a narrator cast as inventing tales is a different case."],"categories":["T01"],"tags":[],"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null},"media":[]}},{"kind":"guide_preview","preview":{"schema":"guide-preview/v1","id":"art_01M5MVCTVQ0ZBBD3ZJS2KQMMYC","type":"article","revision":1,"title":"What audience feedback changes mid-run in a Globo novela, per a scholar and a Globo author","coverage":"A source note for screenwriters and story editors on which mid-run adjustments Brazilian scholarship and a Globo author attribute to ratings and broadcaster research. It rests on a desk reading of three sources and was not tested. None of the sources ties a specific change to a measured ratings effect.","example":null,"tips":["One scholar's claim that Globo returns to simpler folk-tale structures when ratings fall is her stated hypothesis, not a measured finding.","Describe run-length, theme and cast changes as reported practice; the sources give no measured result for any single change."],"categories":["T01"],"tags":[],"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null},"media":[]}},{"kind":"guide_preview","preview":{"schema":"guide-preview/v1","id":"art_01M5MX4KXXKJJ5VMH3PR48AFBZ","type":"article","revision":1,"title":"Sargent's 1916 account of struggle, suspense and why a story needs a concrete goal","coverage":"Summarises Chapter XIII of Epes Winthrop Sargent's Technique of the Photoplay (third edition, 1916): what struggle and suspense are, why both need an objective, and how definite that objective must be. For writers and students of early screenwriting. It is one trade writer's silent-film teaching and offers no test or measured effect.","example":null,"tips":["A broad aim such as earning a living is too general; Sargent wants a goal that can definitely be reached so the story can end.","A record of events with no objective is history or a tale rather than a plot.","Suspense exists only while the outcome is in doubt."],"categories":["T01"],"tags":[],"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null},"media":[]}}],"truncated":true,"has_more":true,"next_cursor":"eyJyZWZlcmVuY2UiOiJNakEiLCJwcmV2aWV3IjpudWxsLCJxIjoiUG9lJ3MgUGhpbG9zb3BoeSBvZiBDb21wb3NpdGlvbiBhcyBlaWdodCBxdWVzdGlvbnMgdG8gYXNrIG9mIHlvdXIgb3duIHNob3J0IHBvZW0gb3IgdGFsZSIsInR5cGVzIjpbXSwiY2F0ZWdvcmllcyI6W119","ordering":"bounded_reference_and_preview_lanes"}