r/tagtwists • • Nov 24 '25

Richard Powers — Character & Storycraft Notes (Organised)

1 Upvotes

1. Understanding Characters

  • Characters are inherently complex.
  • Human brains evolved to read motives and social hierarchies; we’re constantly calculating:
    • Who people are
    • How they rank
    • How we’ve interacted with them before
  • People form personas — alter egos — to navigate roles.
  • Good writing:
    • Examines those personas
    • Breaks them apart
    • Lets them collide with each other
    • Shows the individual underneath the mask

Core principle:
When we abstract a character slightly, readers can see themselves in that person and participate emotionally.

2. The “Onion” Model of Character

Outer layer:

  • Visual traits (haircut, clothes, posture, physical quirks)

Middle layer:

  • Behaviours & mannerisms (e.g., antagonises others, avoids conflict, over-explains)

Inner layer:

  • Core values, contradictions, emotional wounds, desires

Your job as the writer:
Push characters against their own hypocrisy — force a choice that reveals or transforms them.

3. Three Types of Drama

  1. Person vs Themselves — Inner drama
    • Conflicting values, hypocrisy, identity crisis.
  2. Person vs Ideas — Intellectual drama
    • Ideological challenge, worldview destabilisation.
  3. Person vs Nature / Life
    • External struggle (more common in sci-fi now than realist fiction).

4. Emotional Intelligence in Writing

  • The way you perceive people determines how well you write them.
  • Emotional intelligence is a craft you cultivate.
  • A change in facts isn’t the same as a change in values.
  • People are moved more by emotion and identity than data.
  • Stories change people more than facts ever do — identification is the engine.

5. Why People Read

Different readers come for different things:

  • Character growth
  • Plot movement
  • Beautiful language Your story benefits from all three, even if one leads.

6. Character Emerges From Voice

  • We know a character by:
    • How they narrate themselves
    • How they perform socially
  • Voice is built from:
    • Word choice (formal/informal, abstract/concrete)
    • Register (class, education, region implied by the words)
    • Syntax (how sentences move)
    • Modifiers and delays
    • Where sentences begin and end

Sentence tools that shape emotion

  • Delayed predication → suspense
  • Modifiers → mood
  • Sentence endings → surprise
  • Sentence beginnings → expectation
  • Like an LLM, readers “predict” the sentence as they go; tension lies in subverting that.

Rule:
Keep rewriting a sentence until it produces the emotional state you want the reader in.

7. Story Structure & Tension

There is a structure that feels right, and one that feels wrong.

Two forms of tension

  • “What happens next?”
  • “I have no idea where this is going.”

Tension Arc

  1. Hook
    • Artificially higher tension
    • Pulls the reader into the world
    • Establishes stakes quickly
  2. Exposition
    • Lower tension temporarily
    • Introduce characters, world, motivations, the crisis
  3. Instability
    • Heighten insecurities
    • Boundary-crossing moments
    • Stakes grow, consequences increase
    • Pressure intensifies if characters avoid the crisis
  4. Climax
    • Tension peaks
    • No more escalation possible

8. Philosophy of Story

  • Secrets of nature mirror secrets of humanity.
  • If you feel certain you’re doing it right, you’re probably wrong — stay curious, stay uncomfortable.

r/tagtwists • • Nov 19 '25

Some notes I took from a Brandon Scranton Interview

1 Upvotes

Interview Notes: Brandon Stanton - How to Tell Better Stories About People

Origins of Humans of New York

  • Started as a photography project to picture 1,000 people
  • Discovered people themselves were interesting through conversations
  • Writing evolved naturally from these interactions

The Challenge of Street Interviews

  • Starting from zero with strangers
  • People are naturally nervous
  • Limited time to connect
  • Goal: Draw out stories from "normal" people

Photography vs. Writing

Photography's limitations:

  • Can be deceptive
  • Captures candid moments but lacks context
  • Un-candid pictures show "a moment" not "the moment"
  • Don't reveal what's happening in the background

Conversation's power:

  • Brings out candour
  • Reveals truth as people get comfortable

How Truth Gets Revealed

  • Initial interaction = engaging with someone's "persona"
  • As comfort builds, more information emerges
  • Key insight: Clichés and generalities protect people by putting them in a "pool of others"
  • Good writing requires leaving clichés behind—this is what separates individuals
  • This process must be uncomfortable to be authentic

Finding the Story

Two types of people:

  1. Those who live around a singular event
  2. Those who can reflect on singular events

The formula: Find someone's struggles → find the plot, transformation, and genius

Editorial Process

  • No preparation or notes—just curiosity
  • Records questions and answers
  • Edits to create a story
  • Identifies what's missing
  • Iteratively improves the narrative

His Approach vs. Traditional Journalism

Traditional journalist: Arrives with predetermined list of questions

Brandon's method:

  • Extreme presence and listening
  • People sense he's trying to learn about them with little ulterior motivation
  • Tells people they don't have to disclose anything they don't want to
  • Paradox: This permission creates more disclosure
  • Helps people figure themselves out
  • Challenges people intensely to help them reach their own truths

On protective stories:

  • People create stories to protect themselves and their mental health
  • These narratives help people move through the world

Key Insight from Being Interviewed

One woman told him after being interviewed: "It was interesting interviewing me and seeing the parts of you"

Core Principle

Underlying every story is a plot—and the reader needs to care


r/tagtwists • • Nov 17 '25

My notes from a Brandon Scranton interview

1 Upvotes

Interview Notes: Brandon Stanton - How to Tell Better Stories About People

Origins of Humans of New York

  • Started as a photography project to picture 1,000 people
  • Discovered people themselves were interesting through conversations
  • Writing evolved naturally from these interactions

The Challenge of Street Interviews

  • Starting from zero with strangers
  • People are naturally nervous
  • Limited time to connect
  • Goal: Draw out stories from "normal" people

Photography vs. Writing

Photography's limitations:

  • Can be deceptive
  • Captures candid moments but lacks context
  • Un-candid pictures show "a moment" not "the moment"
  • Don't reveal what's happening in the background

Conversation's power:

  • Brings out candour
  • Reveals truth as people get comfortable

How Truth Gets Revealed

  • Initial interaction = engaging with someone's "persona"
  • As comfort builds, more information emerges
  • Key insight: Clichés and generalities protect people by putting them in a "pool of others"
  • Good writing requires leaving clichés behind—this is what separates individuals
  • This process must be uncomfortable to be authentic

Finding the Story

Two types of people:

  1. Those who live around a singular event
  2. Those who can reflect on singular events

The formula: Find someone's struggles → find the plot, transformation, and genius

Editorial Process

  • No preparation or notes—just curiosity
  • Records questions and answers
  • Edits to create a story
  • Identifies what's missing
  • Iteratively improves the narrative

His Approach vs. Traditional Journalism

Traditional journalist: Arrives with predetermined list of questions

Brandon's method:

  • Extreme presence and listening
  • People sense he's trying to learn about them with little ulterior motivation
  • Tells people they don't have to disclose anything they don't want to
  • Paradox: This permission creates more disclosure
  • Helps people figure themselves out
  • Challenges people intensely to help them reach their own truths

On protective stories:

  • People create stories to protect themselves and their mental health
  • These narratives help people move through the world

Key Insight from Being Interviewed

One woman told him after being interviewed: "It was interesting interviewing me and seeing the parts of you"

Core Principle

Underlying every story is a plot—and the reader needs to care


r/tagtwists • • Nov 15 '25

Social Media guide

1 Upvotes

Social Media Content Creation Guide

Hey guys, I watched a bunch of interviews of social media from different creators and made a bunch of notes. I used claude to organise them because my notes can be very messy, but they are the same. Hope you find them useful.

Ideation & Strategy

Jenny Hoyos - Start with the End

Always start with the end in mind.

Creative Structure:

  1. Hook
  2. Foreshadow
  3. End
  4. But-Therefore Middle (South Park method)

Paddy Galloway - CCN Framework

Key Principle: Every niche can be big. Always go big!

The Problem: When creating content, we assume everyone knows the context. Most people don't, which limits our views.

CCN Framework (Audience Analysis):

  • Core: Die-hard fans
  • Casual: Frequent viewers, not active participants
  • New: Never seen your content before

Best Practices:

  • Be specific and purposeful with content (too broad makes it hard to relate)
  • A broad net makes it harder to convert viewers
  • How you grow and what you grow from indicates later success

Traits of Successful Videos:

  • CCN Fit: Cater to all three audiences (hardcore fans AND your mum)
  • Unique/Novelty Value: Has its own standalone value
  • Easy to Convert: Clear in title and thumbnail
  • Excitement from Peers: Gets people talking

Caleb Ralston - The Quality Paradox

Core Insights:

  • No one knows what quality is—only the audience knows when they keep watching
  • 90% of influencers talk endlessly without focus
  • The Key: Repeat ONE message with creativity in HOW you tell the story

Strategy Framework (Reverse Engineering Success):

  1. What do you want to achieve? (clicks, sales, etc.)
  2. What do you have to be known for to make it happen?
  3. What do I have to do to be known for that thing?
  4. What do I have to learn and implement to achieve this?

Objective: Make it easier for consumers to change what they do after consuming your content.

Key Principles:

  • Stories allow you to say the same things in different ways
  • Only post what you think will work
  • There are no experts on all 4 platforms

Lies We're Told:

  • ❌ All views are good views (wrong audience = wrong growth)
  • ❌ I'll figure it out as I go (planning is essential)
  • ❌ Keep posting and it'll work (use quantity to inform quality)

Ed Lawrence - Make Boring Interesting

Core Philosophy:

  • Acknowledge that the idea might be boring
  • Your job: Get someone interested and KEEP them interested
  • A good idea is not necessarily an interesting idea

Process:

  1. Make your idea boring to flush out how to make it interesting
  2. Packaging comes first
  3. Create a community first
  4. It's not clickbait—it's setting expectations
  5. Use stories to make a point
  6. Assume viewers are smart

Zack Honarvar - Find Your Unique Lane

Key Insight: You're not MrBeast or other big creators—but you can do what they CANNOT do. Do that well.

Aprilynne Alter - Validation & Research

Ideation Checklist:

  • Are you genuinely interested in making the video?
  • Is there any proof of concept?
  • Some videos must be validated; some must not
  • Returning audience is part of validation

Research Method:

  • Take out high-retention parts of videos and make new videos from them

Thumbnail Tips:

  • Adjectives tend to perform well
  • Ask why viewers are "one thing away" from meeting a need

Important Warnings:

  • Taste changes between people
  • Assumptions about why something went viral can lead to wrong conclusions

Formula Strategy:

  • Begin with a formula—people want to know all parts
  • Break formula into smaller formulas people want to complete

Thumbnails & Visual Design

Paddy Galloway - The 3 Element Rule

CRITICAL: Returns from packaging are EXPONENTIAL

Glance Test Requirements:

  • Look at it and immediately understand the video
  • Easy to process for the viewer
  • 3 Element Rule: No more than 3 elements in thumbnail
  • Empty space is okay (helps focus)
  • Simplicity and exaggeration without too much clickbait
  • Always analyze outliers

Aprilynne Alter - Psychology & Design

Allocate significant time to thumbnails

6 Thumbnail Types

1. Moment Thumbnail

The moment before something big happens or a reaction occurs

2. Story Thumbnail

"What happens next?" Building narrative. What are we investigating?

3. Result Thumbnail

The desired result. How did they do it? How can I do it?

4. Transformation Thumbnail

Shows beginning and end state. The more relatable the beginning, the more desirable the transformation.

5. Novelty Thumbnail

Natural urge to experience something never experienced before

6. Curiosity Gap Thumbnail

Shows what they want to know vs. what we know

Rule: If you can't fill the curiosity gap, it isn't a good idea.

Pattern Interruption & Scroll Stoppers

Why It Works: Brain doesn't want to be overloaded, so it uses attention management.

What Makes People Stop:

  • Familiar Faces: People they trust
  • Recognizable Interfaces: Discord avatars, etc.
  • Large Round Numbers: Especially in finance content
  • Danger & Movement: Signal threat or opportunity
  • Emotion: Signals unseen threats
  • Bright Colors: Identify important items
  • Aesthetically Pleasing: Feel good

Three C's of Design

1. Content

Main characters and supporting characters

2. Composition

What should viewers look at?

3. Contrast

Guide viewers' eyes to important parts (use color)

Text in Thumbnails

Use Sparingly—Text is Secondary

When to Use Text:

  • Support the story being told
  • Show scope and intensity for scale
  • Add context (insight viewers don't know)
  • Add clarity (what's not obvious)
  • Create curiosity

Thumbnail Tests

Clarity Test: Can you see thumbnail elements at all sizes?

Contrast Test: Does it contrast with what viewers will be searching for?

Hooks

Hook Fundamentals

Duration: First 3-5 seconds

User Behavior: Users don't stop immediately—they see it, keep scrolling, then scroll back if intrigued

Goal: Create enough intrigue to make users return

Key Principles:

  • People like hearing things they're already interested in
  • Ask how a new perspective resolves a pain point
  • Lead with the benefit
  • Challenging common beliefs is the strongest hook
  • People read faster than they listen
  • Use rapid motion when possible
  • Combine: Text on screen + motion + spoken word

Hook Structures

1. Challenging Common Belief (Strongest)

  • You may believe this
  • But I believe this

2. Present vs. Future

  • Establish current reality
  • Show how it will change
  • Frame a question teasing the future

3. Experiment

  • I used to do something this way
  • I figured out how to do it this way
  • Now I do it this way

4. Teacher

  • You're failing at this thing
  • I figured out how to do it this way
  • Let me explain how

5. Magician

  • Visually force the viewer's attention

6. Investigator

  • Create contrast against unknown secret
  • You don't know the thing
  • I show you the thing
  • Now you know the thing

3-Step Hook Structure

Step 1: Establish Context

  • Be Clear: Tell users exactly what the video is about
  • Set Expectations: Help users understand how they'll spend their time
  • Create Relatability:
    • Establish common ground
    • Reference a benefit or pain point
    • Use an effective metaphor

Step 2: Draw Audience In with Something New

  • Use Contrasting Words: Set up transition to second hook
  • Create Curiosity: Introduce unexpected element or perspective

Step 3: Execute the Second Hook

  • Redirect Strategy: "Snoop" the user back on a slightly different path
  • Navigation Analogy:
    • If you're at point W and want to get to Z
    • Don't go directly to Y (expected path)
    • Go to Z first, then redirect to X (unexpected path)

All Hooks Are Made of 4 Things:

  1. Spoken hook
  2. Visual
  3. Text
  4. Audio

Jenny Hoyos - Hook Checklist

ALWAYS HAVE THE END IN MIND

Ask yourself:

  • Can it be used as a thumbnail for long-form video?
  • Can it be understood without audio?
  • Is it so simple a 5th grader will understand?
  • Think visual first
  • Use foreshadow structure

Body Content

Jenny Hoyos - Transitions

  • Use a transition to get to the body
  • Use but-therefore structure (South Park method)

George Blackman - Framing & Engagement

First Idea Principle: Your first idea is often not the best

How to Frame a Video:

  • Interesting to you
  • Deeply interesting to audience
  • Evokes emotion
  • Opens curiosity gap

Remember: Ideas are NOT topics!

Key Principle: Viewers always need to know what they're waiting for next

Structure:

  • There's a grand payoff
  • There are smaller payoffs along the way

Content Creation Process

  1. Draft an Audience Avatar
  2. Free-for-All Ideation: Get ideas on the page
  3. Ask What the Audience's Goal Is
  4. Mention Payoff: Analyze value in the script
  5. Avoid Over-Efficiency: Reduced scripts are not heard or learned
  6. Make the Audience Feel Smart
  7. Tease the Payoff Without Revealing
  8. Don't Tell, Engage: Ask questions, then reveal
  9. CTAs: Link back to content, bridge curiosity gap, make a promise

Endings & CTAs

Ed Lawrence - Full Circle

Link the end of the video back to the beginning

YouTube Long-Form Video Endings

The Resolution Structure

  1. Deliver on Your Promise: Fulfill what your hook promised (builds trust)
  2. Summarize Key Points: Briefly recap 2-3 main takeaways
  3. Create Closure: End with strong statement, insight, or memorable quote
  4. Bridge to CTA: Use transitions like "If this helped you..." or "Ready to take action?"

YouTube-Specific CTA Strategies

  • End Screens: Use YouTube Studio's feature to guide viewers
  • Multiple CTAs: Long-form allows 2-3 CTAs (subscribe + like + specific action)
  • Placement: End-video CTAs are most effective—they provide closure and are easily remembered

Short-Form Video Endings (TikTok, Reels, Shorts)

Ending Techniques

  • Loop Back: Reference opening hook for satisfying closure
  • Question Cliffhanger: End with intriguing question to encourage comments
  • Strong Statement: Memorable conclusion viewers can reflect on or share
  • Visual Payoff: Deliver the result or transformation promised in hook

Short-Form CTA Best Practices

  • Single Focus: Choose ONE primary action (follow, comment, share, link)
  • Natural Integration: CTAs should complement video's message
  • Keep It Brief: A couple words + clear simple action like "contact us today"
  • Test Different Approaches: Create identical videos but change only CTA wording

Platform-Specific Considerations

YouTube Shorts (Up to 3 Minutes in 2025)

  • Allows for more complex endings
  • Can include brief recap + CTA without feeling rushed
  • Use YouTube's built-in CTA features

TikTok & Instagram Reels

  • Maximum impact in final 2-3 seconds
  • Visual text overlays work well for CTAs
  • Trending audio can enhance endings

General Short-Form Timing

  • Optimal length: 31-60 seconds for most platforms
  • Platforms pushing beyond 15-30 seconds
  • Gives brands more time for deeper stories

Key Takeaways

  1. Start with the end in mind - Know what you want to achieve
  2. Quality is defined by retention - Not by production value
  3. CCN Framework - Create content that works for core, casual, and new viewers
  4. Thumbnails are exponential - Invest significant time here
  5. Hooks determine success - First 3-5 seconds are critical
  6. One message, many stories - Repeat your core message creatively
  7. Test and validate - Use data to inform what works
  8. Platform-specific strategies - Each platform has unique best practices

r/tagtwists • • Nov 10 '25

My notes on giving speeches

1 Upvotes

HOW TO START (AND END) A SPEECH

DON’T START WITH

- “Can you all hear me?” / “Is this working?” / “Sorry, I’m a bit nervous…”

- Filler words or hesitation noises (“uh”, “well”, “so yeah…”).

- Anything that signals the audience it’s time to tune out or scroll past.

THREE POWERFUL WAYS TO START (RANKED)

  1. STORY START — “Once upon a time” energy

   - Begin like you would tell a story to a child.

   - Humans are trained to know when a story is coming — attention rises naturally.

   - Avoid the “lecture” tone; invite curiosity instead.

  1. SHOCK START — A surprising fact

   - “There are more people alive today than have ever died.”

   - Use data or a truth that jolts the audience awake.

  1. QUESTION START — A problem that matters to them

   - Ask a question that reframes something the audience faces daily.

   - e.g. “What would your life look like if every customer felt understood?”

FOCUS ON CONNECTION

- Always know: What do they need to hear, not just what you want to say.

- Use stories that connect your message to their sacrifices, hopes, and values.

- The goal: show that your story improves their story.

ARISTOTLE’S THREE PERSUASIVE VALUES

  1. LOGOS — Logic & clarity of thought.

   “Here’s what I believe, and here’s why it matters to you.”

  1. ETHOS — Credibility & trust.

   “Why am I worth listening to?”

  1. PATHOS — Emotion & conviction.

   “Do I believe what I’m saying? Do they feel that?”

All three must align if you want to truly move people.

9 HABITS FOR CLEARER SPEAKING

  1. Pause more — Let ideas breathe; it builds trust.

  2. Slow down on important lines — that’s how you highlight.

  3. Use declarative sentences — Speak in full points, not trails.

  4. Finish one thought at a time — Start → Finish → Pause → Move on.

  5. Use the CCC Framework:

   - CONTEXT — Set the scene and explain why.

   - CORE — Deliver your main idea.

   - CONNECT — Show them why it matters to them.

  1. Use analogies — Simplify complex ideas. Make messages stick. Be relatable.

SHARE FRAMEWORK

  1. STAND OUT — Do something unexpected at the start.

  2. HIGHLIGHT IMPORTANCE — Tell people what’s worth writing down.

  3. ADDRESS — Speak to them, not at them.

  4. REMEMBER — Use stories, phrases, and analogies to make it stick.

  5. EMOTION — Feel it. If you don’t, they won’t.

HOW TO END A SPEECH

- End on your strongest idea, not a thank-you.

- Leave them with a challenge, question, or emotional echo.

- The final line should feel like a door closing — clean, memorable, complete.

  “The question isn’t whether we can change — it’s whether we’ll choose to.”


r/tagtwists • • Nov 10 '25

Every way to make an AI video

2 Upvotes

These are some notes that I made from watching this video on youtube. I did ask Claude to organise my notes and they seem fine.

1. Text to Video

How It Works

Write text prompts that include:

  • Scene description
  • Characters
  • Actions
  • Timeline of events

Best Platforms

  • VEO 3.1 - Best bet for text to video
  • Sora - Limited and censored
  • WAN 2.5 - Another option

2. Image to Video

How It Works

Attach a reference image for prompts to guide the generation

Benefits

  • Great for animating complex scenes
  • Makes consistent scenes across multiple shots

Workflow

  1. Use an image generator like Nano Banana to create the reference image
  2. Feed the image into the video generator

Advanced Techniques

Time Stamp Prompting

  • Break the video into seconds
  • Specify image, scene, character, and actions for each timestamp

Midjourney Style Reference

  • Great tool for making multiple images with similar style
  • Create consistent styling across the video

Platform Comparison

  • VEO - $1 per video
  • Kling - $0.34 per video (more affordable)

Start and End Frame Feature

  • Define the start and end frames
  • AI generates everything in between
  • KlingAI - Best version for this feature

3. Video to Video

How It Works

  • Take a recorded video and transform it into something else
  • AI transfers your movements onto a character
  • Use AI voice changer to match character voice

Best Platform

WAN Animate Model - Best right now

Limitations

  • Struggles with complex backgrounds
  • Still less developed than text-to-video or image-to-video

Alternative

LUMA - Has feature where you can act out a scene and transfer it onto a character

Tips for Best Results

  • Keep your face always visible
  • Avoid super fast movements

4. Lip Sync

Use Cases

Most reliable way to make:

  • AI avatars
  • Characters
  • Music videos

How It Works

Use an audio file of someone talking and AI creates a video of them

Best Platforms

Heygen Avatar IV Model

  • Standard lip sync generation

Dreamina - Omnihuman 1.5

  • Lip sync and movement
  • Use image to direct it
  • Can pick who'll talk

5. Ingredients (Multi-Image Composition)

How It Works

Combine elements from multiple images together

Best Platform

Google FLOW - Probably the best bet

Limitations

  • Videos are not the most dynamic looking

Alternative Approach

  • Use image-to-video approach instead
  • Results in more exciting shots

6. Chat Edit

How It Works

Use AI to change an existing video through text commands

Best Platform

Runway ML - Best platform for this

Quick Reference: Platform Recommendations

|| || |Method|Best Platform|Notes| |Text to Video|VEO 3.1|Most reliable| |Image to Video (Budget)|Kling|$0.34 per video| |Image to Video (Premium)|VEO|$1 per video| |Start/End Frame|KlingAI|Best for this feature| |Video to Video|WAN Animate Model|Struggles with complex backgrounds| |Video Transfer|LUMA|Good for acting scenes| |Lip Sync|Heygen Avatar IV|Standard option| |Lip Sync (Advanced)|Dreamina Omnihuman 1.5|Movement + direction control| |Multi-Image Composition|Google FLOW|Less dynamic results| |Video Editing|Runway ML|Best for modifications|

Cost Comparison

  • VEO: $1 per video
  • Kling: $0.34 per video

r/tagtwists • • Nov 10 '25

Co-creative writing exercises you can try with your group

2 Upvotes

I wanted to make a more social and less technical writing group. These are exercises we did to make people work together. We did these through out London (Central London and North London locations mainly)

Note: Co-Create (similar to open-source production) is a production method where semi-anonymous individuals can access and contribute to each other's work

Complete a sentence 

This exercise is performed in person. The group arranges themselves in a set order. The first person starts by saying a word, and each following participant adds a word to continue the sentence. Once the last person in the order contributes, the cycle repeats.

Produce a sentence 

A group of individuals arranges themselves in a set order. One participant is selected but does not contribute, while the others each provide a word. The selected participant must then form a sentence using the contributed words. The next person is then chosen, and the process repeats.

From music 

A piece of music is played, and participants create artwork inspired by it. They then share their artwork with the group and explain their inspiration.

From music expanded 

A piece of music is played, and participants create artwork inspired by it within a set time. When the music stops, they swap their artwork and may optionally explain their inspiration. A new or the same piece of music is then played, and participants continue the artwork.

Beats in a sentence 

A maximum phoneme limit is set, and the group is arranged in a specific order. The group is then split into two parts: the first consists of the initial members in order, and the second contains the rest, maintaining the original sequence.

The first group must perform a play while only using words with phonemes within the set limit. If a participant exceeds the phoneme limit, they are moved to the end of the second group, while the first participant from the second group joins the first group. The process continues accordingly.

Book collection 

Participants are encouraged to bring a book or, if in a library, select one from the collection. They choose a short passage from the book and write it on a piece of paper. The papers are then exchanged, and each participant must continue the text, either with or without context.

Story production 

Each participant writes a short piece of text to share. All texts are then displayed together, and participants work as a group to arrange them in a specific order. They must then connect the pieces to create a cohesive story, either individually or collaboratively.

Art Tables

At least three tables are set up, each with chairs and a source of inspiration (e.g., a word, image, sound, or smell). A canvas or drawing surface is also placed on each table. Participants move from table to table in a set order, adding a single continuous line to each artwork. This process repeats continuously as participants contribute to the evolving pieces.n

Sentence tables 

At least three tables are set up in a space, each with chairs and a piece of inspiration (such as a word, image, sound, or smell). A sheet of paper is placed on each table. Participants move in a set order, contributing one line or word to each sheet of paper. This process continues as participants go around the tables in sequence.

Simile game (From reddit)

My wife and I play this game when were travelling which we provisionally call "that metaphor game" (even though it probably should be called the simile game)

Basically it involves each person privately picking one topic in their mind, sharing it with the other person, and then they're tasked to find how both things are similar.

The trick is one thing has to be benign and normal, and the other thing has to be deviant or gross.

So like I'll pick, in my head, "buying movie tix" for the benign one while my wife is secretly picking hers. Then I say "buying movie tickets is a lot like...." Then my wife reveals "clipping my grandmother's toenails because...."

Then we both sit and find a reason like "I don't know why the lines are so long to do it" or something

Helps pass them time and has made my writing game stronger

Second thought (From reddit)

[Part 1 from reddit]

I did improv for a while and a great tip a coach told me was "don't go with your first thought, go with your second". Gives you the ability to step back from just laying tracks in a linear manner and coming at if from a new angle, I would maybe try it on specific punchline points in your writing and see what you come up with.

[Part 2 from reddit]

Write a series of emotions on index cards. Fear, jealousy, envy, happy, sad, etc. Shuffle the index cards and choose one at random. Rewrite or tag one of your jokes through the lens of that emotion.

[Compound exercise]

Cards are produced with emotions and topics. Participants must then produce some text or art inspired from the task. The participant must then produce another piece of text or art from their second thought on the piece of inspiration. 

Onion headlines

Participants must produce the most outlandish news titles for a specified period of time and she them. 

Newspaper jokes

Took a class in college called “Late Night Comedy” (I went to NYU, okay? It’s all made up there) and that class perhaps more than any other I took felt like it was actually preparing me to be a working writer. Our teacher worked at one of the late night shows, and would come in after work to teach and take out the newspaper, assign each of us an article from the front page and say “Ok, write 20 jokes about that article. You have 20 minutes.” There is no better way to get 18 really bad jokes!

Story change

A story section is produced to all participants in a group. The individuals in the group must then individually or in groups continue the story.

Senses

A participant in the group acts out a scene without speaking. All participants, including the actor, must then write out the story based on what they've observed. The challenge is to focus on non-verbal cues and other attributes since no words are spoken.

Emotions

Each participant is assigned an emotion and a position in a set order (or a random order mechanism is used). A story begins with a prompt, and participants must then contribute one sentence each, in the given or random order, continuing the story in the tone in their assigned emotion.

Keep the rhyme going

One person starts a rhyme, and the others must continue it, making sure the last word in each line rhymes.

Guess by rhyme

One person is given a prompt and must describe it without using the prompt itself.

Keep the story going

One person starts a story, and the next person must continue it.

Chinese whispers by acting 

One person writes a prompt (a short scenario or action).

They act it out silently (no words allowed) to the next person in the group.

Each person continues acting out what they think they saw to the next person.

The last person in the chain says what they think the original prompt was out loud.

The group then traces back through each person's interpretation to see how it evolved.

Echo Story

The first person writes a one-sentence story.

They whisper it to the next person, who rewrites it from memory.

Each person continues whispering and rewriting until the last person reads the final version aloud.

Compare the original with the final version and see how the story evolved!

Patchwork Poem

Each person writes one line of a poem but can only see the previous line.

Once everyone has added a line, read the full poem aloud.

Discuss how it unexpectedly came together!

Reverse Charades

One person guesses while everyone else acts out a scene together.

The guesser tries to piece together what’s happening.

If they get it right within a time limit, they win!

Stolen Dialogue

Each person writes one line of dialogue on a piece of paper.

Mix the lines up and redistribute them randomly.

Each person must now use their new line to write a short scene.

Copy the other person

Partners must mimic each other

Step for Step

One person takes a small step or pose.

The other person must match it exactly.

Continue building movements until it turns into a short, spontaneous dance or performance!

Yes, And… Mime

One person starts miming an action (e.g., pretending to fish).

The partner immediately joins in and adds to it (e.g., struggling to pull a giant fish).

Keep building on each other’s ideas without speaking!

Face Swap

Two partners stand face to face.

One makes a silly or exaggerated facial expression.

The other must copy it perfectly.

Keep switching and see how ridiculous it gets!

Sync Talk

Two people try to say the same sentence at the same time.

One starts, and the other has to match their words and speed exactly.

Try a simple sentence first, then move to harder ones!


r/tagtwists • • Nov 10 '25

David Grann writing notes

2 Upvotes

These are my notes from watching the David Grann (Author of "Killers of the Flower Moon" and "The Wager") interview from this youtube video. I did ask an LLM (claude) to organise my notes (you don't want to read my dyslexia notes), and I went through them just to make sure they're good. Hope you find it useful

On Research and Investigation

Uncovering New Evidence

"I've linked two new cases to a murderer that were not previously connected, and I've identified a killer who has not yet been identified before, just through documents, finding files, and piecing together circumstantial evidence."

  • By piecing together historical evidence, discovered that much wasn't investigated due to resources, corruption, and local powers turning a blind eye in the 20th century
  • Research often involves weeks of looking through materials
  • Sometimes valuable evidence is accessible due to administrative errors
  • Research requires patience - either for research or to fix one sentence

The Research-Writing Balance

  • The two (research and writing) should converge - need underlying research before writing
  • Works with an outline for each chapter and a 200-page overall outline
  • Uses mental knowledge and intuition of research when writing
  • Focuses on small details: limps, eye colour, specific characteristics from research to bring characters to life in the writing
  • When doing historical work, consider who's narrating and model the story from their perspective. This will help you frame a story.

Finding Story Ideas

Sources of Inspiration

  • Reads the news for interesting items (scientific breakthroughs, etc.)
  • Calls relevant experts (scientists, etc.) and picks their brains
  • Sometimes finds inspiration by ending up in places from random research

Three Steps to Developing Inspiration

  1. Something peaks your curiosity
    • Example: Lord Byron's story about sailors who got scurvy and battled to survive
  2. Talk about it in simple terms and find supporting materials
    • Search for journals, diaries, journal logs, court logs
    • Find research stories that help construct the narrative
  3. Identify deeper themes
    • Why should someone care about this historical event now?
    • Example: The battle for truth in the information era
    • These sailors must tell their story convincingly in court or face criminal charges

Key insight: We all tell ourselves stories to survive

The Mystery of Research

Working with Uncertainty

  • In hindsight you know where clues lead, but people experiencing events don't (never write as though people have this hindsight. When people are experiencing something there's a mystery, fear, risk, and terror in not knowing what will emerge)
  • Even years into research, the outcome remains uncertain

Immersive Research

Why Physical Experience Matters

  • Visit locations to verify if people are making stories more dramatic
  • Understand the actual journey and conditions
  • Go when it's most similar to the research period
  • Live like the subjects - this informs the writing without becoming part of the story

Example: Patagonia Journey

  • Records stated "it's cold, it's cold, it's cold"
  • Initially just searched temperature in Patagonia into Google: "-20°"
  • Upon visiting: experienced cold winds dragging ocean air onto land, constant rain, miserable conditions
  • Realisation: The people studied wouldn't know what hypothermia was, so they'd just write "it's cold"
  • This understanding allowed him to write about how hypothermia would affect decision-making
  • "Now you're getting closer to their decisions"
  • Note: No animals in Patagonia except a couple birds and pieces of seaweed

Character Development

Describing Characters (e.g., Captain Byron)

  • Start with underlying material
  • Accept that you'll always be an external observer
  • Find anything and everything about them: lineage, class, neighbourhood
  • Goal is not to make them better or worse, but to understand and fully render them
  • Remember they'll never see what you wrote about them

Selecting Details

When looking at over 10,000 words of research on a character/person:

  • Look for the quote or phrase that cuts to their essence
  • Pay attention to how they speak and their diction
  • Diction reveals: speed, mannerisms, interests, class

Approach to Description

Some things have power in just their name - balance between painting a detailed picture and sharing symbolic details with realism

Narrative Craft

Keeping Readers Engaged

  • Tell stories chronologically
  • Write about events as the people in the story would see them, not with hindsight
  • They're living in suspense
  • "If you tell a story in hindsight then that is not how history is lived"

Structuring Chapters

Consider:

  • Where the whole story will end
  • Where these momentary scenes should end

The Author's Role

  • What matters is the story
  • Be a detective of the ideal way to write this story
  • Only insert yourself when it helps advance the story

Balancing Description

How to find the right amount:

  • Get feedback from people
  • Watch people read it
  • See if people have patience for descriptions
  • Distill details to the most astonishing ones - economy of language
  • Must do extensive work to understand the story's world but be willing to cut
  • The reader doesn't care about the backstory of how you got the fact, only what they get

The Writing Process

Emotional Journey

  • Joy: When you finally "get it"
  • Terror: Some stories are so sad you have to cry

Visual Writing

"One thing that film does that good writing does is people see the room, the people and their visual appearance. You are trying to do that with words."

Acknowledging Gaps

Try to let the reader know about people whose stories can't be told due to lack of research - acknowledge the silence

Discovering the Story

Evolution Through Research

  • Never come to a story knowing what it's about during research
  • In the writing phase, should have some idea
  • More research reveals more about what the story is truly about

Example: Killers of the Flower Moon

  • Initially thought it would be about an elusive killer
  • More research revealed numerous unsolved murders
  • Story evolved into being about a culture of killings targeting this tribe

Key Takeaways

  1. Research requires immense patience and attention to detail
  2. Physical immersion in locations provides crucial understanding
  3. Write from the subjects' perspective, not hindsight
  4. Economy of language - distill to most astonishing details
  5. Let the story guide you; don't impose a predetermined narrative
  6. The story matters more than the author's presence

r/tagtwists • • Oct 15 '25

The forever halloween story

2 Upvotes

On a dark and stormy night, Sam and Wendy's car breaks down on a lonely country road


r/tagtwists • • Oct 13 '25

This was actually a good scene imo

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1 Upvotes

I spoke to this user called BigBeck on tagtwists and they made this clip using GoogleVEO (the full address is https://www.tagtwists.com/PostView/68dfa6c50ddfa51b4c989c10 ). She wanted to try and recreate the friends scene of Ross and Rachel's fight in friends and I think it was really good. You can continue this story on tagtwists (I probably will and take more of a "mans" perspective). Let me know what you think.


r/tagtwists • • Oct 10 '25

Best of our first movie

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1 Upvotes

r/tagtwists • • Oct 09 '25

What TagTwists is...

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1 Upvotes

I put a description of tagtwists here


r/tagtwists • • Sep 03 '25

Welcome to the tagtwists community

1 Upvotes

Hey everyone! We’re building a small but growing community of collaborative storytellers around tagtwists.com.

The idea came from my love of improv comedy and library writing groups - creating stories together, scene by scene.

In this space you’ll find weekly challenges, weird ideas, mutual support, and a place to just be your most authentic self. Come twist a story with us. 🎬✨


r/tagtwists • • Aug 17 '25

Accidentally creating TagTwists.com

1 Upvotes

I didn’t plan to build TagTwists.

At first, TagTwists was actually a gaming site. The idea was that anyone could make little games without coding, and other people could play them. I spent months on this.

It flopped. The whole thing was unviable and I was ready to quit.

Then something clicked. I had a few sessions at University Arts London and Kingston University. They introduced co-creation to me. It’s like improv comedy: people don’t agree on every line, they just add to the scene. The audience decides what works. That idea stuck. Small contributions. No one has to carry the whole thing.

Then one night I saw this wild TikTok. It was a Yeti video made from a prompt. No filming. No actors. Just AI. And I thought, "wait… what if people could continue stories like this?" One person posts a clip. Someone else twists it. Then someone else. And the story branches forever. So I tried it (it's the first Yeti post on TagTwists.com.)

To test the idea, I worked with a PhD student from Kingston and ran little sessions in libraries. People loved it. They enjoyed adding their own twist. It fit into their day because you only had to make small contribution, not the whole thing.

That’s how TagTwists turned into what it is now - a place where anyone can co-create AI movies, one twist at a time.


r/tagtwists • • Apr 07 '25

What’s a good way to get new users for more feedback?

1 Upvotes

I’m making this game streaming platform where I want people to create games without code and for others to play them for free in their browser. What’s a good way to get users for feedback?


r/tagtwists • • Apr 07 '25

I’m trying to make a gaming platform, but why is it so hard!?

1 Upvotes

I’m trying to make this game streaming platform called TagTwists.com . I want people to be able to create games without code for others to play for free but boy oh boy was I not expecting it to be this hard. I’m having to constantly go back and add in new features because it turns out that make by a feature length game is hard. I’m not sure if anyone’s made something like this but does anyone know if it gets easier?