I just found out that I haven’t published this article on BS yet. Although, maybe this article appeared in one of our magazines, maybe the article was written for 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 have difficulty understanding 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 is so lacking.
Lit. stamp you can name a phrase or even a sentence that you may come across in the works of different authors writing in different genres.
A literary stamp is like a puzzle piece, covering missing holes, and sometimes expressing 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 linguistic one. And, in my humble opinion, each type has both its pros and cons.
If we talk about plot clichés, then the formula was derived a long time ago:
1.
An exceptional personality, a sort of “Byronic hero”, distinguished from others by some special qualities or knowledge.
But such a point is difficult to classify as a disadvantage, because reading about an ordinary person without a king in his head, without conflict with society, with himself or without special abilities simply not interesting. In this case, the genre determines the character of the hero and his behavior. If in a dystopia a character fights the system based on his abilities, then in a fantasy of sword and sorcery the hero is distinguished by special skills or, conversely, atypical inability.
Non-genre prose in this issue low sensitivity to such personality stamps. If we talk about lyrics, then the intangible hero, whom no one understands, can be found in six out of ten poems.
2. Path. Main character, overcoming all difficulties, stubbornly strides towards a special Goal, scattering villains along the way or fighting them in a fair fight. How fair the fight is is a moot point, since if the main character is involved in the fight, then we are absolutely sure 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 follower-imitator).
If the two previous cliches can be classified as common ones that can be found in many works, then there are also no less popular cliches. For example, the hero’s reflections on the road to a great Goal (or even 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 “sage” (a caterpillar can also play this role, smoking a hookah), revenge for the dead parents, saving everyone and everything, even if the world was on the verge of destruction. After this, as a rule, the hero begins to die, but a beautiful maiden or an equally wonderful maiden throws herself on his chest and fills the entire chest of the almost lifeless person with tears, which may have a miraculous effect.
Such cliches 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 plot can be found through a book on the bestseller shelf. The author may have a truly amazing style or deep thoughts, floating in an ornate haze between the lines. And the reader often stubbornly gets lost in his own world and does not want to open up the various facets of literature, asking Google for the names of books of a certain genre. “A book similar to...” - at least once each of us began our journey into a new work with these lines. Is this bad? It's up to you to decide.
However, let us return to the discussion about the main thing, namely the speech stylistic stamp (hereinafter RSS). What kind of fruit is this and what is it eaten with?
In fact, it is an unnecessary unoriginal clarification that can easily be replaced or thrown away, but the author is sincerely confident that it is beautiful and literary anyway (often put intuitively).
This cliché can also be divided into two types: speech and stylistic.
If we consider these types in parallel, then a stylistic stamp is a stylistic error in the text, which, in the opinion of the author and some readers, gives the text a certain beauty. There are a great many such errors, I propose to study (remember) some of them:
1 . Paronyms are words that sound similar but have different meanings. For example, linguistic-linguistic, equal-equal, provide-present, acquire-master and others. Agree that the incorrect use of the above words can lead to an erroneous understanding of the meaning: “Having provided the newcomer to those around him, Mr. X sat down in the chair again” (having provided - having given for use, do you feel the irony?).
2 . Tautology is a word, term, definition that repeats something previously written in a different form. It is very common to use a noun in conjunction with an adjective. “Oil oil” is easy to notice in the text, you say. Yes, if similar words are nearby: “Along with these reasons, he was guided by a number of others. (next to - NEAR)” . It would be more logical to write “Along with these reasons, he was guided by others.”
3
. Stringing words in identical case forms that are close to each other. 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, authors sometimes make mistakes with the cases themselves. To knock down this cobweb, you can use the conjunctions “so that”, “which” or throw out a cumbersome word.
Solution: “To avoid danger”
Not only do authors sometimes make mistakes with the cases themselves, but they also put identical ones side by side. For example,
In order to avoid the possibility of danger... (example not mine).
In order to knock down this web, you can use the conjunctions “so that”, “which”, but do not overdo it, which will also be considered a mistake.
Solution:
To avoid danger...
In general, stylistic errors that can easily be classified as cliches huge amount. But, alas, I have regulations, so let’s move on to speech errors.
A speech stamp is a cliché that includes some “fashionable” words, phrases, phrases, and images. Perhaps this representative is one of the most serious and dangerous literary cliches. A writer who uses such words cannot develop his own style or create an author’s individuality, because he uses phrases that have already become clichés in the history. For example, “the frost grew stronger”, “jump out like a bullet”, “steps echoed loudly”, “walked all the way”, “chest rose high”, “eagle gaze”, “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 tag 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 “phraseologisms” is the problem of every novice author, and it cannot be avoided, you need to fight. However, it is very convenient for the reader: there is no need to strain your brain, because such clichés evoke familiar images due to their popularity. That is why I dare to call this cliche a literary device (may philologists 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, the possibility of reflecting on the same scene with different angles. Few people are interested in what exactly the author wanted to convey, and most crave a “head-on” story. Does it develop modern literature? No. Is there any chance of achieving real recognition with a narrative like this? No. If the text is based on the above cliches, then your work will be labeled “light reading,” which will never enter the literary annals. However, you can argue.
Stamp (literary) 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 “clichédness” of thought, imaginary “stylistic beauty”. Sets of fashionable words, phrases and phrases, themes and plots, stereotyped images, the inertia of “ready-made artistry” techniques influence 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 title structures (“When...”, three juxtaposed nouns in the nominative case, etc.). The threat of Sh. is fraught with numerous “writer’s excursions” to the country of childhood in modern Soviet literature, serial appeals to the images of a rose and a nightingale in Turkic poetry, rhymes like “mine is not the same.” An uncritical attitude towards Sh. interferes with the manifestation creative individuality, making the writer and any speaker a victim of the “inertia of style.” But in different spheres of communication - in everyday life, in science, journalism, the arts. literature, etc. - the relationship between Sh., expression and stylistically neutral elements of 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 “okoyem” 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 transform 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 the signs of banal word usage, mobile. Thus, 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 the 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 (literary)” is in other dictionaries:
Wikipedia has articles about other people with this surname, see Balmont. Konstantin Balmont ... Wikipedia
To the history of the problem. Definition of the concept. Solving the problem in dogmatic literary criticism. Evolutionist theories of life. Solution of the problem of life by a “formal school.” Paths of Marxist study J. Literary theory J. Thematic, compositional and... ... Literary encyclopedia
LITERATURE OF THE ERA OF FEUDALISM. 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 a broad sense, however, people sometimes talk about P. l., meaning... ... Literary encyclopedia
ABC for a writer: how to write a book?
Sixteenth meeting in the literary drawing room
Plot cliches
From this article you will learn:
Those who closely follow 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 for the archetypes of heroes see -, there were cliches of heroes - see, then after analysis plot archetypes, it would be logical to parse plot cliches. So, let's get started.
There is no doubt that critics and literary scholars have already unanimously rendered their verdict that the use of plot cliches- This is a sign of unprofessionalism. The author cannot come up with anything new and steals stories from geniuses! At the same time, critics forget to dig deeper and find out, oh horror, from whom the genius, in turn, “stole” the spectacular plot.
As an example, I will give the stamp indicated in the classification - “representative of more advanced civilization falls in love with a native girl." How many books and films with such a plot have you seen? Thousands. Has this made them less popular? No.
By the way, for some reason the famous Robinson immediately came to mind... And even though Friday was a man, his name was Friday! Cool use stamp with our own seasoning, replacing love with friendship and worship... And so the recipe is simple: take stamp, adding know-how and…. We get a bestseller!
Why do I advocate using plot cliches? Probably because I am a psychologist by profession. And any person familiar with psychology knows that the shortest path to the reader’s heart lies... now I’ll tell you a terrible secret... And so, we will get the emotions we need if we use something already painfully familiar to the reader plot.
Surprised? And there is nothing unnatural about this. Imagine, they tell you about the vile behavior of a bad mother... What do you feel? Anger, condemnation, irritation, clung to the children...
It turns out that Shakespeare blatantly used stamp, to make you approve of Hamlet’s actions, although he is an obvious murderer! But Hamlet, by killing, took revenge. And his revenge was caused by his mother’s inappropriate behavior!
And if Shakespeare allowed himself such “liberties,” then who will forbid you? Therefore, listing the most used plot cliches– savor them with me. What “delicacies” 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. Use your brains and bring Hamlet to our time, it will be extremely relevant for fans of bloody showdowns - a lot of corpses and mysteries!
And don’t forget to rename him at least Georg!
And now - The most common plot cliches
A celestial creature comes to earth and falls in love with a mortal. An alternative option: a representative of a more developed civilization falls in love with a native girl.
Everyone is chasing some military secret or a magic shovel with which they can rake in money. The thing can change the course of history.
The main character is transported to parallel world and there he becomes a god, a king, a hero or a wizard.
The Apocalypse has arrived, people live in dungeons and fight with mutants.
A girl marries a foreigner. Acquaintance, embassy ordeals and long-awaited love - everything is based on true events.
The hero is offered to take up a case (solve a crime, go on a trip, etc.), he initially refuses, but then, after reflection, agrees.
The hero takes revenge for his dead parents.
The hero or heroine falls in love with the villain, although he understands that this may cost his life.
The hero goes to the sage for advice, and he solves his problems.
The hero not only copes with his enemies, but receives love and half a kingdom in addition.
The decisive battle between the hero and the 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 a crucial moment, the best friend betrays the main character.
And at the end, a small gift for 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 Literary Living Room news.
Until we meet again, Elena Polyarnaya.
Editors, critics, and even readers love to look for cliches. Sometimes it seems that this search is akin to picking mushrooms. “Let’s look here... - he’s probably hiding, my dear!” And if he hid/is found, they immediately cross it out and throw up their hands: “Well, my friend, this is graphomania!”
I came across the article “Stamps - “for” or “against”” http://zhurnal.lib.ru/b/bioversum/stamps.shtml. and decided to talk about this controversial topic. So, a stamp is a “template”, “stencil”, “standard”.
In literature, a “cliché” is an established plot device, device, or figure of speech.
So why are established moves bad?
“I love you” is a cliche, “reaching out to the heart” is a cliche. “Golden-domed Moscow”, “caring motherly hands”, “sly squinting eyes” are also cliches.
What's wrong with this? Typical examples of established speech patterns.
It is known that there are stamps - plot, but there is - speech.
In the first case - repetition of typical situations, plot moves; in the second - stable expressions and phrases.
Why do many works (even well-written ones) end up in the trash? Nothing original! We have already seen all this. Born, studied, married, divorced, now toils. This means that the reader (and, above all, the editor) needs to be surprised with something. It seems like a typical situation, but not quite. And the images are well written, and the experiences are more interesting, and the thoughts of the characters are special. And to fight speech cliches, you need to turn on inner hearing. And get rid of the blurry look. And don't be afraid of critics. After all, there are no criteria for stamps, and there are no criteria for distinguishing stamps from non-stamps either.
From the article I mentioned:
“Creativity is not a conveyor belt, of course, its products must have some variety. This is where you need to show inventiveness and ingenuity, and learn this from nature itself. The fact that a person has two arms, two legs and one head - this can also be a stamp But to give it individuality, it is not necessary to attach a third leg or claws instead of arms. Likewise, a bicycle with round wheels can be modified and improved, adapted for riding in the mountains, but it will still remain a bicycle with round wheels, recognizable and similar to its own. brothers. But some sophisticated, original and stunning design, like a baobab stylization, although individual, is functionally useless. So we must learn not to move away from cliches in a radical way, but to find the notorious individuality, without leaving the framework of what is decent and acceptable. .
It's the same in literature. In the pursuit of originality, sometimes you can become so isolated in your individuality that no one needs it.”
What mistakes are most common in all literary works submitted to the Golden Pen competition?
- If the beginning is teeming with literary cliches, like “the frost was getting stronger”, “the sun was setting”, “the wind was blowing”, “the eyes were blue”, “he turned pale”, “she turned pale” and the like, then no self-respecting jury member can simply read it won't. If there are grammatical errors, too. Classics of the genre: “I help those who are tired of learning Russian language.” What kind of Golden Feather can we talk about in this case?
If there are repetitions of words: he, she, they, was, was, there were others - well, it’s just unpleasant. Remember - Pushkin is strong because 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 from fairy tales “hackneyed” heroes like elves, trolls and fairies, as well as kings and princesses... If in a poetic piece a verb rhymes with a verb, a noun with a noun, an adjective with an adjective, especially with the same syllabic size, these are gross mistakes. They are justified only if the emphasis is on precisely this rhymed form of the reverse. “Boot and low shoe” is also not a rhyme! There is also so-called “water”, not visible to the author. These are extra quatrains, or sentences, or even entire pages, which can easily be abandoned. Avoid semantic and verbal tautology. Chekhov, for example, wrote his stories like this. He will write and let you rest. Then he will throw out the first couple of pages. And Hemingway was looking for a good opening phrase, like “the bell that tolls for you.” If this phrase exists, consider that there is a novel... The same goes for the competition work. Look for your personal courage! If you have the courage to think, consider that the feather is already on the lapel of your jacket!
From the article " Literary problems country of the Soviets."
The above excerpt identifies the most serious errors found in the works of novice authors.
I was interested in the prioritization of the competition organizer: the emphasis is placed primarily not on the illiteracy of the majority of young writers, as it would seem to be one of the most important and pressing problems of modern youth prose, but on the question of the admissibility of using so-called literary cliches in literary texts. Therefore, I would like to dwell on this topic in a little more detail.
According to the unanimous opinion of critics and sophisticated readers, cliches are the mark that separates the chaff from the wheat, and the following set of cliches is unacceptable in high-quality literature:
“Tired, but happy”, “the frost grew stronger”, “jump out like a bullet”, “blush in embarrassment”, “open trusting eyes”, “the first large drops of rain”, “frost that turned silver...”, “steps echoed loudly”, "woman amazing fate", "having gone all the way", "scorching tea", "silence reigned", "unruly curls", "in splendid isolation", "hero of the occasion", "sunset, gilded...", "formidable weapon", "tender haze”, “ruddy apple”, “hands like wings”, “swan neck”, “the wind is rustling in the ears”, “fog is creeping”, “sadness/sadness/longing in the eyes”, “fur like velvet”, “witch’s potion ", "the face clouded/lit with happiness", "the edge of reason", "righteous indignation", "offended innocence", "unforeseen coincidence of circumstances", "in fruitless attempts", "guardians of order", "grin in a mustache", " sly squinting of the eyes”, “hair/curls scattered in sleep”, “chest rose high”, “shaked all over with indignation”, “face distorted with hatred”, “pounce with congratulations”, “the hero of not her novel”, “everything inside got cold", "hot embrace", "green beauty", "dream of a righteous man", "eagle gaze", "icy/cold gaze", " strong chin", "unruly curls", "bottomless eyes", "thin as a reed", "tired and kind eyes", "the color of ripe wheat", "cornflower blue eyes", "with unshakable confidence", "with a cheerful cunning", "perky laugh”, “grind your teeth in frustration”, “jumped up, ready for action”, “impenetrable/pitch darkness”, “wave away in annoyance”, “fragile blond creature”, “panther gait/cat gait”, “dusk has fallen on the city” , “a stingy male tear”, “a gentle girlish look”, “to chirp cheerfully”, “to look in a special way”, “to leave behind a vague feeling of something joyful”, “it was getting dark”, “the air smelled of spring” , “hair spilled over her shoulders like silk”, “eyes like coals”, “burn with passion”, “cling to her lips (or something else...)”, “snow/moonlight silvers”, “gallant Frenchman ", "prim Englishman", "mysterious Russian soul", "bright stars/lush vegetation", "victim of passion/love", "the sun was setting", "the wind was blowing", "blue eyes", "he turned pale", "fragile psyche", "dark depths", "make eyes", "sensitive soul", "quivering heart", "years rush by like a horse", "time, the evil executioner", "lush flowering", "light of the soul", "scales like gold/copper”, “marble skin”, “eyes like diamonds”, “rose from a creaky chair”, “went to the open window”, “meager dinner”, “naive child”, “noble warrior”, “blushing from barely pent-up rage", "fall into arms", " magical world childhood", "caring mother's hands", "father's stern gaze".
Poetic stamps:
“Blood-love-carrots-again-”, “eternity-infinity”, “love-pray/offend-see” (as well as other verbal rhymes), “never-forever”, “tears-dreams”, “day-shadow” ", "house-tom-com", "warmth-light", "sky-wasn't", "time-burden", "banner-flame", "memories-suffering", "rose-frost-mimosa".
Of course, this is far from a complete catalog of literary templates, however, while reading this selection of metaphors and images wandering from book to book, I noticed that some of the listed “clichés” are in fact set expressions (“cat walk”, “jump out like a bullet”) ") and traditional descriptive techniques that are important for conveying reliable information about external and internal features character (“cold/icy gaze”) or the specifics of a particular phenomenon (“bright stars”). These are tag words 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. “I, of course, can change the stamp, and, for example, declare that from now on I will consider the “lantern” to be a “svetarem”, due to its 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 thousands of years. Consequently, it makes no sense to look for original designations for objects familiar to every person since childhood, and the use of stamps in similar cases justified and appropriate.
Attempts to include such phrases as “blue eyes” and “moonlight” among the forbidden clichés make me suspect modern literary critics in incompetence. “Blonde/blonde with blue eyes”, “fog spreading over the lake”, “moonlight illuminating the paths”, without a doubt, are stereotypical images inherent in 90% works of art, but these are forms invented not by people, but by that higher and no less stereotypical authority, which is usually called God or nature.
All human life consists of "stamps". Everyday situations are repeated, thoughts and actions, smiles and hysterics, holidays and misadventures are repeated. 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 clothed in a plexus of ornate and colorful phrases, and the use of template formulations is only a way to activate emotional perception text, initially devoid of visual and auditory images. Skillful manipulation of cliches creates the illusion of simplicity of presentation and makes it possible to easily understand the events proposed by the writer or poet. When a person passes long-familiar images and designations through the prism of consciousness, 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 not cliches that should be avoided, but inept innovation.
However, I will not deny that the use of template wording 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 cliches:
- The hero is offered to take up a case (solve a crime, go on a trip, etc.), he initially refuses, but then, after reflection, agrees.
- The hero takes revenge for his dead parents.
- The hero or heroine falls in love with the villain, although he understands that this may cost her/him his life.
- The hero goes for advice to a sage, and he, having broken down a little, solves all the problems.
- The hero not only copes with his enemies, but receives love and half a kingdom into the bargain.
The decisive battle between the hero and the villain.
- “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 main character.
Advice: Often a writer spends hours working on a paragraph, but it doesn’t work out - even if you crack it! Time flies, things stand still, the author becomes desperate. What should I do? Write down the thought - what exactly needs to be reflected in this paragraph - and move on. You can even write an entire novel in this “cursive script” and then edit it.
