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“As I stated earlier, I do not believe there is anything inherently wrong with even the most overused elements of epic fantasy. Magic swords, dragons, destined heroes -- even dark lords and ultimate evils can legitimately be used in literature of serious intent, not just mocked in satirical meta-fiction. To claim that they cannot would be much the same as claiming that nothing good can ever again be done with fiction involving detectives, or young lovers, or unhappy families. The value of a fictive element is not an inherent quality, but a contextual one, determined by its relationship to the other elements of the story it is embedded in. In other words, whether a scene in which a dragon is introduced is affecting, amusing, or agonizingly dull depends primarily on the choices made by the scene's author. I say "primarily" because dragons have appeared in thousands of stories over the centuries, and almost any reader may be presumed to have been exposed to at least one such. The reader's reaction will naturally be influenced by how they feel this new dragon compares to the dragons which they have been introduced to in the past. (Favorably, one would hope. A dragon must learn to make a good first impression if it is to do well in this life.) Such variables are out of the author's control, as are any unreasoning prejudices against dragons on the part of the reader. All that can be done is to make the dragon as vivid and well-suited for its purpose as is possible. If all the elements of fantasy and fiction in a work are fitted to their purposes and combine to create a moving story set in a convincing world, that work will presumably be a masterpiece.”

ArtFantasyDragonsHeroesMasterpieceTropesClichésSwordsEvil Overlord
Author:Alec Austin
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“Why are breakfast food breakfast foods?" I asked them. "Like, why don't we have curry for breakfast?" "Hazel, eat." "But why?" I asked. "I mean seriously: How did scrambled eggs get stuck with breakfast exclusivity? You can put bacon on a sandwich without anyone freaking out. But the moment your sandwich has an egg, boom, it's a breakfast sandwich.” Dad answered with his mouth full. "When you come back, we'll have breakfast for dinner deal?" “I don't want to have breakfast for dinner." I answered, crossing knife and fork over my mostly full plate, "I want to have scrambled eggs for dinner without this ridiculous construction that a scrambled egg inclusive meal is breakfast even when it occurs at dinner time." “You gotta pick your battles in this world Hazel.” My mom said, “But if this is the issue you want to champion, we will stand behind you.” “Quite a bit behind you.” My dad added, and mom laughed. Anyway, I knew it was stupid, but I felt kind of bad for scrambled eggs.”

FoodComplicatedDinnerOppressionEggsBreakfastLolJohn GreenTropesThe Fault In Our Stars
Book:The Fault in Our Stars
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“…there is a particular boldness in metaphor, which is not to be found in the same degree in any of the figures of rhetoric. Without any thing like an explicit comparison, and commonly without any warning or apology, the name of one thing is obtruded upon us, for the name of another quite different, though resembling in some quality. The consequence of this is, that as there is always in this trope an apparent at least, if it cannot be called a real impropriety, and some degree of obscurity, a new metaphor is rarely to be risked.”

MetaphorTropesImpropriety
Book:The Philosophy of Rhetoric
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“And as to ordinary metaphors, or those which have already received the public sanction, and which are commonly very numerous in every tongue, the metaphorical meaning comes to be as really ascertained by custom in the particular language as the original, or what is called the literal meaning of the word. And in this respect metaphors stand on the same foot of general use with proper terms.”

MetaphorMeaningSanctionsTropes
Book:The Philosophy of Rhetoric
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“Miss Foxe's other passion was fairy tales. She loved the transformations in them. Everybody was in disguise, or on their way to becoming something else. And all was overcome by order in the end. Love could not prevail if the order of the tale didn't wish it, and neither could hatred, nor grief, nor cunning. If you were the first of three siblings, then you were going to make a big mistake, and that was that. If you were the third sibling, you couldn't fail.”

StorytellingDisguiseFairy TalesLiteraryTropesHelen OyeyemiMr FoxTransformations
Book:Mr. Fox
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“You’re always dealing with a stereotype. There’s the superhuman trope and the vulnerable trope – the benefit scrounger, someone who takes, doesn’t offer anything to society because they’re so incapable. And if you’re trying to be the superhuman, you don’t want to look as if you’re leaning on anyone, because people will think, which one are you? It’s really hard to embody both. But the gap between the tropes is where we want to live.”

DisabilityDisabledParalyzedSuperhumanAbleismTropesInternalized Ableism
Author:Sophie L. Morgan
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“I'm honestly kind of surprised. You've got a flair for drama, Misha. I thought you might get hard over some final sacrifice for love, or whatever. I mean, you're the writer, not me, but that's got Emmy written all over it." "Bury your gays." I reply, utterly deadpan. Jack rolls his eyes. In film, in TV, in books... the queer characters never get a happy ending," I press. "Sometimes they're the first to go, other times they make some brave sacrifice in the finale, but it always ends in tragedy and death. That's why it's called bury your gays.”

LgbtqTropes
Book:Bury Your Gays
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“Added to the exigencies of structure are the necessities developing about the recurring characters in any [television] series. These types must remain stable enough for audience identification and development of residual personality, yet they are also responsible for satisfying the constant demand for variety. Irwin Blacker indicates the problem of developing character as one of the difficulties of creating a classic Western in the television format. If the story is to have any significance, says Blacker, the people in it must change; yet in a Western series the hero cannot risk change. The writer, therefore, must continually use "guest" characters who are able to develop, change, or die within the context of the weekly episode while the hero functions as a catalyst in that action. This constraint, though preventing the series from developing into a significant drama, achieves a twofold purpose necessary to the continuing story: the variety of secondary plots and character retains audience interest; the stability of the continually developing (but basically unchanging) residual personality of the hero sustains audience loyalty.”

TelevisionCharacter DevelopmentTropesWesterns1982
Book:The Western Hero in Film and Television: Mass Media Mythology
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“The Nazis, for him, are merely available movie tropes--articulate monsters with a talent for sadism. By making the Americans cruel, too, he escapes the customary division of good and evil along national lines, but he escapes any sense of moral accountability as well. In a Tarantino war, everyone commits atrocities. Like all the director's work after 'Jackie Brown,' the movie is pure sensation. It's disconnected from feeling, and an eerie blankness--it's too shallow to be called nihilism--undermines even the best scenes.”

WellsWarFeelingsEvilLinesMoralTalentScenePureDirectorsAvailableMonstersCommitBrownGood And EvilAccountabilityDivisionSensationsNaziShallowNihilismAtrocitiesDisconnectedJackieSadismTarantinoEerieTropesBlanknessJackie Brown
Book:Do the Movies Have a Future?
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“The etymologist finds the deadest word to have been once a brilliant picture. Language is fossil poetry. As the limestone of the continent consists of infinite masses of the shells of animalcules, so language is made up of images or tropes, which now, in their secondary use, have long ceased to remind us of their poetic origin.”

LongHas BeensMadeUseEarthLanguageMassInfiniteBrilliantPoeticContinentsShellsFossilsTropesLimestone
Book:Essays and Lectures
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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.”

HumansMeanBigsMotherGirlLove IsBoysBuildingUniversalBetrayalRevengeMythBlockLegendsArchetypeBuilding BlocksMother's LoveTropesWhat It Means To Be HumanHidden TruthBoy Meets Girl
Author:Patrick Rothfuss
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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.”

IfsWayUseSoundPiecesWifeEffectsFogWhalesBrassTropesFlashbackSound EffectsHumpback Whales
Author:Martin Scorsese
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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.”

WritingTryingStillsIdeasStoriesDifferencesExistenceStudySkillsOriginalsTiredStartingCriticalBreatheDevelopingJust BeingNew LifeClueClicheStarting OutOriginal IdeasTropes
Author:Charles Stross
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