Wednesday, July 2, 2025

Prompt for 15 beats and 18 descriptions of the Screenplay

 

Prompt for 15 beats and 18 descriptions of the Screenplay

Here is the storyline in the language : (Telugu)

for the book Title :  (‘Barrister Parvateesam’)

Genre: (Comedy)

written by : (Mokkapati Narasimha Sastry)

Published year: (1927)

Write a screenplay that combines the 15 beats of Blake Snyder’s "Save the Cat" structure with the Ashtadasha Varnanaalu (18 Descriptive Elements) from classical Telugu Prabandha literature.

Each of the 18 Varnanas should be inserted in a meaningful, contextually apt place in the structure.


🎬 Prompt for Screenplay Writing

Goal:
Here is the storyline in Telugu for Book Title  ....... written by ......... .

Write a screenplay that combines the 15 beats of Blake Snyder’s "Save the Cat" structure with the Ashtadasha Varnanaalu (18 Descriptive Elements) from classical Telugu Prabandha literature. The story should be original or adapted from a mythological/historical/cultural tale suitable for Telugu cinema or television. Each of the 18 Varnanas should be inserted in a meaningful, contextually apt place in the structure.


🔶 PART 1: STORY STRUCTURE

Format the story into the following 15 beats of the Blake Snyder Beat Sheet:

  1. Opening Image

  2. Theme Stated

  3. Set-Up

  4. Catalyst

  5. Debate

  6. Break into Two

  7. B Story

  8. Fun and Games

  9. Midpoint

  10. Bad Guys Close In

  11. All Is Lost

  12. Dark Night of the Soul

  13. Break into Three

  14. Finale

  15. Final Image


🔷 PART 2: TELUGU PRABANDHA INTEGRATION

Incorporate the Ashtadasha Varnanaalu (18 Descriptions) in appropriate places. These are the classical poetic descriptions used in Telugu Prabandhas, often to evoke beauty, divinity, and atmosphere. Below are the 18 types and suggested placement in the 15-beat structure:

Varnana (Description)Suggested Placement in Beat Sheet
1. Nagari Varnana (City)Beat 1: Opening Image or Beat 3: Set-Up
2. Prabhata Varnana (Morning)Beat 3: Set-Up or Beat 6: Break into Two
3. Ratri Varnana (Night)Beat 10: Bad Guys Close In
4. Ruthu Varnana (Seasons)Beat 8: Fun and Games
5. Prakriti Varnana (Nature)Beat 8: Fun and Games or Beat 7: B Story
6. Yuddha Varnana (War)Beat 11: All Is Lost or Beat 14: Finale
7. Rathi Varnana (Romance)Beat 7: B Story or Beat 9: Midpoint
8. Vahanamu Varnana (Vehicles)Beat 8: Fun and Games or Beat 6: Break into Two
9. Sainya Varnana (Army)Beat 10: Bad Guys Close In
10. Shilpa Varnana (Architecture)Beat 1: Opening Image or Beat 3: Set-Up
11. Abharana Varnana (Jewelry)Beat 7: B Story or Beat 13: Break into Three
12. Aayudha Varnana (Weapons)Beat 11: All Is Lost or Beat 10: Bad Guys Close In
13. Aswa Varnana (Horses)Beat 6: Break into Two or Beat 10: Bad Guys Close In
14. Gaja Varnana (Elephants)Beat 10: Bad Guys Close In
15. Vastra Varnana (Costumes)Beat 3: Set-Up or Beat 7: B Story
16. Nritya Varnana (Dance)Beat 8: Fun and Games or Beat 9: Midpoint
17. Veera Varnana (Heroism)Beat 14: Finale
18. Stree Varnana (Women)Beat 7: B Story or Beat 9: Midpoint

📜 Additional Instructions

  • Use flowery and poetic Telugu wherever appropriate, especially in the 18 Varnanas.

  • Include slokas or padyams for 3–4 Varnanas in classical Telugu meter to evoke authenticity.

  • Add voiceover suggestions or camera directions where vivid descriptions are essential.

  • Clearly label each Varnana (e.g., [Varnana 1: Nagari Varnana]).

  • Mention historical/cultural references that enrich Telugu nativity.


🎥 Example (Brief Teaser)

Beat 1: Opening Image
[Varnana 1: Nagari Varnana]
The camera soars over the golden domes and sapphire canals of Amaravati, teeming with traders, poets, and sages. Bells from temples blend with the scent of sandalwood as the sun rises.

Beat 3: Set-Up
[Varnana 10: Shilpa Varnana]
Inside the royal court, pillars carved with epics gleam in the morning light. The young prince’s curiosity stirs as tales of lost kingdoms fill the air.

Monday, June 30, 2025

18 Descriptions of Prabandhas

  18 Descriptions of Prabandhas

à°…à°·్à°Ÿాదశ వర్ణనలు 

 

à°¬్à°²ేà°•్ à°¸్à°¨ైà°¡à°°్ 15 à°¬ీà°Ÿ్à°¸్ à°…à°¨ేà°µి ఆధుà°¨ిà°•ంà°—ా à°•à°¨ిà°ªించవచ్à°šుà°—ాà°¨ీ, à°¦ీà°¨ిà°•ి మన à°ª్à°°à°¬ంà°§ాà°²్à°²ో à°’à°• à°ª్à°°à°®ాà°£ం à°µుంà°¦ి.

à°…à°·్à°Ÿాదశ వర్ణనలు à°µుంà°Ÿేà°—ాà°¨ీ à°ª్à°°à°¬ంà°§ాà°¨ిà°•ి à°•ాà°µ్à°¯ à°—ౌà°°à°µం దక్à°•à°¦ు à°…à°¨ే à°®ాà°Ÿ à°’à°•à°Ÿుంà°¦ి.

 

à°…à°·్à°Ÿాదశ వర్ణనలు

 

à°…à°·్à°Ÿాదశా వర్ణనల ఆవశ్యకతను ‘à°ª్à°°à°¤ాపరుà°¦్à°°ీà°¯ం’à°²ో  à°µివరింà°šాà°°ు.

 

వర్ణనలు

నగరం,

సముà°¦్à°°à°®ు,

à°¶ైలము,

à°‹à°¤ుà°µు,

à°šంà°¦్à°°ోదయము,

à°¸ూà°°్à°¯ోదయము,

ఉద్à°¯ానము,

సలిలక్à°°ీà°¡,

మధుà°ªానము,

à°°à°¤ోà°¤్సనము,

à°µిà°ª్à°°à°²ంà°­à°®ు,

à°µిà°µాహము,

à°•ుà°®ాà°°ోదయము,

à°®ంà°¤్à°°à°®ు,

à°¦్à°¯ూతము,

à°ª్à°°à°¯ాణము,

à°¯ుà°¦్à°§à°®ు,

à°¨ాయకాà°­్à°¯ుదయము.

 

పద్à°¯ాà°²ు

à°¶్à°²ో. నగరాà°°్ణవ à°¶ైలర్à°¤ు à°šంà°¦్à°°ాà°°్à°•ోదయ వర్ణనైః

ఉద్à°¯ాà°¨ సలిà°² à°•్à°°ీà°¡ా మధుà°ªాà°¨ à°°à°¥ోà°¤్సవ

à°µిà°ª్à°°à°²ం à°­ైà°°్à°µిà°µాà°¹ైà°¶్à°š à°•ూమరోదయ వర్ణనైః

à°®ంà°¤్à°° à°¦్à°¯ూà°¤ à°ª్à°°à°¯ాà°£ాà°œి à°¨ాయకాà°­్à°¯ుదయైà°°à°ªి!!

 

à°•ం. వన జలకేà°³ీ à°°à°µిà°¶à°¶ి

తనయోదయ, à°®ంà°¤్à°°, à°—ీà°¤ి, à°°à°¤ి à°•్à°·ిà°¤ిà°ª, à°°à°£ం

à°¬ుà°¨ిà°§ి, మధు, à°‹à°¤ు, à°ªూà°°ోà°¦్à°µా

à°¹ నగ, à°µిà°°à°¹, à°¦ూà°¤్à°¯, వర్à°£ాà°¨ాà°·్à°Ÿాదశముà°¨్!!

 

à°•ం. à°ªుà°°à°¸ింà°§ు నగరివనశశి

సరసీవన మధుà°°à°¤ి à°ª్à°°à°¸ంà°— à°µిరహముà°²్

పరిణయ తనయోదయ నయ

à°µిà°°à°šà°¨ à°¯ాà°¤్à°°ాà°œి à°¦ౌà°¤్à°¯ మధువర్ణనముà°²్!!

 

à°…à°·్à°Ÿాదశ వర్ణనలు à°…ంà°Ÿే పద్à°¦ెà°¨ిà°®ిà°¦ి à°°à°•ాà°² వర్ణనలు. ఇవి à°¤ెà°²ుà°—ు à°¸ాà°¹ిà°¤్à°¯ంà°²ో, à°®ుà°–్à°¯ంà°—ా à°ª్à°°à°¬ంà°§ాలలో, à°•à°µిà°¤ా à°¸ౌందర్à°¯ాà°¨్à°¨ి à°ªెంà°šà°¡ాà°¨ిà°•ి ఉపయోà°—ింà°šే వర్ణనలు.

 

à°…à°·్à°Ÿాదశ వర్ణనలు:

 

1.     à°¨à°—à°° వర్ణన:

నగరం à°¯ొà°•్à°• à°…ంà°¦ం, à°µిà°¶ాలత్à°µం, భవనాà°²ు, à°µీà°§ుà°²ు à°®ొదలైà°¨ à°µాà°Ÿి వర్ణన.

 

2. సముà°¦్à°° వర్ణన:

సముà°¦్à°°ం à°¯ొà°•్à°• à°µిà°¶ాలత, అలలు, à°•ెà°°à°Ÿాà°²ు, à°¤ీà°°ం à°®ొదలైà°¨ à°µాà°Ÿి వర్ణన.

 

3. à°¶ైà°² వర్ణన:

పర్వతం à°¯ొà°•్à°• à°Žà°¤్à°¤ు, బలం, à°ª్à°°à°•ృà°¤ి à°¦ృà°¶్à°¯ాà°²ు à°®ొదలైà°¨ à°µాà°Ÿి వర్ణన.

 

4. à°‹à°¤ు వర్ణన:

à°ª్à°°à°¤ి à°‹à°¤ుà°µుà°²ోà°¨ి à°ª్à°°à°•ృà°¤ిà°²ో à°®ాà°°్à°ªుà°²ు, à°…ంà°¦ం. ఉదాహరణకు, వసంà°¤ à°‹à°¤ుà°µుà°²ో à°ªూà°² పరిమళాà°²ు, పక్à°·ుà°² à°•ిలకిà°²ాà°°ాà°µాà°²ు à°®ొదలైనవి.

 

5. à°šంà°¦్à°°ోదయ వర్ణన:

à°šంà°¦్à°°ుà°¡ు ఉదయింà°šే సమయం, à°¦ాà°¨ి à°µెà°²ుà°—ు, à°šుà°Ÿ్à°Ÿూ ఉన్à°¨ à°ª్à°°à°•ృà°¤ిà°²ో à°®ాà°°్à°ªుà°²ు.

 

6. à°¸ూà°°్à°¯ోదయ వర్ణన:

à°¸ూà°°్à°¯ుà°¡ు ఉదయింà°šే సమయం, à°¦ాà°¨ి à°•ాంà°¤ి, à°šుà°Ÿ్à°Ÿూ ఉన్à°¨ à°ª్à°°à°•ృà°¤ిà°²ో à°®ాà°°్à°ªుà°²ు.

 

 

 

7. ఉద్à°¯ాà°¨ వర్ణన:

à°¤ోà°Ÿ, à°¦ాà°¨ిà°²ోà°¨ి à°®ొà°•్à°•à°²ు, à°ªూà°²ు, పక్à°·ుà°²ు, à°¸ెలయేà°³్à°²ు à°®ొదలైà°¨ à°µాà°Ÿి వర్ణన.

 

8. సలిà°² à°•్à°°ీà°¡ వర్ణన:

à°¨ీà°Ÿిà°²ో ఆడుà°•ోవడం, à°¨ీà°Ÿిà°²ో à°µిà°¨ోà°¦ం, జలక్à°°ీà°¡à°²ు.

 

9. మధుà°ªాà°¨ వర్ణన:

మద్యపాà°¨ం à°¸ేà°µింà°šే సమయం, à°¦ాà°¨ి à°°ుà°šి, à°¤్à°°ాà°—ే à°µిà°§ాà°¨ం à°®ొదలైà°¨ à°µాà°Ÿి వర్ణన.

 

10. à°°à°¤ోà°¤్సవ వర్ణన:

à°¸్à°¤్à°°ీ à°ªుà°°ుà°·ుà°² à°¶ృంà°—ాà°° à°•్à°°ీà°¡à°²ు.

 

11. à°µిà°ª్à°°à°²ంà°­ వర్ణన:

à°µిà°°à°¹ం, à°µిà°¯ోà°—ం, à°µిà°°à°¹ంà°²ో ఉన్నవాà°°ి à°­ాà°µోà°¦్à°µేà°—ాà°²ు.

 

12. à°µిà°µాà°¹ వర్ణన:

à°µిà°µాà°¹ à°µేà°¡ుà°•, à°ªెà°³్à°²ిà°²ో జరిà°—ే à°•ాà°°్యక్à°°à°®ాà°²ు, వధూవరుà°² à°…à°²ంà°•à°°à°£, à°®ొదలైà°¨ à°µాà°Ÿి వర్ణన.

 

13. à°•ుà°®ాà°°ోదయ వర్ణన:

à°•ుà°®ాà°°ుà°¡ు à°ªుà°Ÿ్à°Ÿినప్à°ªుà°¡ు జరిà°—ే à°µేà°¡ుà°•, à°ªిà°²్లవాà°¡ిà°¨ి à°šూà°¸ి à°•à°²ిà°—ే à°¸ంà°¤ోà°·ం, à°®ొదలైనవి.

 

14. à°¨ీà°¤ి వర్ణన:

à°®ంà°šి, à°šెà°¡ుà°² à°—ుà°°ింà°šి, à°¨ీà°¤ి à°¸ూà°¤్à°°ాà°² à°—ుà°°ింà°šి.

 

15. à°¯ాà°¤్à°° వర్ణన:

à°ª్à°°à°¯ాà°£ం, à°¤ీà°°్థయాà°¤్à°°à°²ు à°®ొదలైà°¨ à°µాà°Ÿిà°²ో à°•à°¨ిà°ªింà°šే à°¦ృà°¶్à°¯ాà°²ు, à°…à°¨ుà°­à°µాà°²ు.

 

16. à°¯ుà°¦్à°§ వర్ణన:

à°¯ుà°¦్à°§ం, à°¯ుà°¦్à°§ంà°²ో జరిà°—ే à°ªోà°°ాà°Ÿం, à°¸ైà°¨ిà°•ుà°² పరాà°•్à°°à°®ం.

 

17. à°¦్à°¯ూà°¤ వర్ణన:

à°œూà°¦ం, à°œూà°¦ంà°²ో à°•à°²ిà°—ే నష్à°Ÿాà°²ు, à°²ాà°­ాà°²ు.

 

18. à°°ాà°œు వర్ణన:

à°°ాà°œు à°¯ొà°•్à°• à°…à°§ిà°•ాà°°ం, à°¨్à°¯ాà°¯ం, à°ªాలన.


1. Sandhya Varnana (Description of Twilight)

2. Rutu Varnana (Description of Seasons)

3. Vana Varnana (Description of Forest)

4. Parvata Varnana (Description of the Mountain)

5. Nadi Varnana (Description of River)

6. Samudra Varnana (Description of Ocean)

7. Grama Varnana (Description of Village)

8. Nagara Varnana (Description of City)

9. Raja Varnana (Description of the King)

10. Nayaka Varnana (Description of Hero)

11. Nayika Varnana (Description of Heroine)

12. Sringara Varnana (Description of Love)

13. Viraha Varnana (Description of Separation)

14. Yuddha Varnana (Description of War)

15. Udyana Varnana (Description of Garden)

16. Pushpa Varnana (Description of Flowers)

17. Chandra Varnana (Description of Moon)

18. Surya Varnana (Description of Sun)





In Telugu literature, particularly in the context of Prabandhas—a form of ornate narrative poetry that flourished during the golden age of Telugu literature under the patronage of Emperor Krishnadevaraya in the 16th century—the Ashtadaasha Varnanaalu (18 descriptions) are a set of poetic descriptions that are integral to the structure of a Prabandha. These descriptions are derived from the conventions of Sanskrit Mahakavya and were adapted into Telugu literature to enhance the aesthetic and thematic richness of the narrative. They are essential for creating vivid imagery, evoking emotions, and showcasing the poet’s linguistic and imaginative prowess. Below is a list of the Ashtadaasha Varnanaalu (18 descriptions) commonly found in Telugu Prabandhas, along with brief explanations of each:

List of Ashtadaasha Varnanaalu (18 Descriptions) in Telugu Prabandhas

  1. Sandhya Varnana (Description of Twilight)
    • Portrays the beauty of dawn or dusk, capturing the serene or vibrant hues of the sky, the behavior of animals, and the tranquil atmosphere. It sets a reflective or romantic mood.

  2. Rutu Varnana (Description of Seasons)
    • Describes the characteristics of one or more of the six Indian seasons (e.g., Vasanta/spring, Grishma/summer). It highlights seasonal changes, their impact on nature, and human emotions.

  3. Vana Varnana (Description of Forest)
    • Depicts the lushness of forests, including trees, wildlife, and natural beauty. It often symbolizes wilderness or a setting for adventure or romance.

  4. Parvata Varnana (Description of the Mountain)
    • Illustrates the grandeur of mountains, their peaks, valleys, and flora, often used to convey strength, stability, or divine presence.

  5. Nadi Varnana (Description of River)
    • Describes the flow, sound, and beauty of rivers, often personified as nurturing or divine figures, evoking peace or vitality.

  6. Samudra Varnana (Description of Ocean)
    • Captures the vastness, waves, and mysteries of the ocean, often symbolizing infinity or the sublime.

  7. Grama Varnana (Description of Village)
    • Portrays rural life, including village landscapes, daily activities, and simplicity, highlighting pastoral beauty or community harmony.

  8. Nagara Varnana (Description of City)
    • Depicts the bustling life, architecture, and grandeur of a city, often reflecting prosperity or cultural richness.

  9. Raja Varnana (Description of the King)
    • Describes the majesty, virtues, and valor of a king, emphasizing his role as a protector and patron of arts and culture.

  10. Nayaka Varnana (Description of Hero)
    • Focuses on the hero’s physical appearance, bravery, and noble qualities, often portraying him as a romantic or heroic figure (Dheerodatta).

  11. Nayika Varnana (Description of Heroine)
    • Portrays the heroine’s beauty, grace, and emotions, often emphasizing her role in the romantic narrative (Sringara Rasa).

  12. Sringara Varnana (Description of Love)
    • Depicts romantic emotions, interactions, and the passion between the hero and heroine, central to the Sringara Rasa in Prabandhas.

  13. Viraha Varnana (Description of Separation)
    • Describes the pain and longing of lovers in separation, evoking deep emotional responses and highlighting unfulfilled love.

  14. Yuddha Varnana (Description of War)
    • Portrays battle scenes, including the valor of warriors, strategies, and the chaos of war, emphasizing heroism and conflict.

  15. Udyana Varnana (Description of Garden)
    • Illustrates the beauty of a garden, with its flowers, fragrances, and serene ambiance, often a setting for romantic or divine encounters.

  16. Pushpa Varnana (Description of Flowers)
    • Focuses on the beauty, fragrance, and symbolic significance of flowers, often used to enhance romantic or aesthetic imagery.

  17. Chandra Varnana (Description of Moon)
    • Describes the moon’s beauty, its light, and its influence on emotions, often associated with romance or melancholy.

  18. Surya Varnana (Description of Sun)
    • Depicts the sun’s radiance, warmth, and power, symbolizing energy, life, or divine authority.

Explanation and Context in Telugu Prabandhas

The Ashtadaasha Varnanaalu are not merely decorative but serve to enrich the narrative by providing vivid imagery, evoking specific emotions (Rasa), and adhering to the structural requirements of a Prabandha. According to Telugu literary tradition, as outlined by scholars like Prof. D. Venkatavadhani, a Prabandha is a dignified composition (derived from the Sanskrit root “bandh” with the prefix “pra”) that follows specific conventions:

  • Thematic Source: The theme must be drawn from well-known Puranas or epics like the Mahabharata or Ramayana.
  • Structure: It is typically divided into five or six cantos (Ashwasas) and written in the Champu style (a mix of prose and poetry).
  • Rasa: The dominant sentiment is Sringara (romance), with the hero as a Dheerodatta (noble and heroic).
  • Incorporation of Descriptions: The 18 descriptions are woven into the narrative to enhance its aesthetic appeal and align with the conventions of Sanskrit Mahakavya.

These descriptions were popularized during the Prabandha Age (16th century), considered the golden age of Telugu literature, under the patronage of Krishnadevaraya. His court, known as the Bhuvana Vijaya Mahasabha, included the Ashtadiggajas (eight great poets), such as Allasani Peddana, who wrote Manucharitra, considered the first model Prabandha. Peddana’s work set the standard for incorporating these 18 descriptions, ensuring a balance of narrative unity, poetic grandeur, and emotional depth. For instance, in Manucharitra, descriptions like Nayaka Varnana (hero) and Sringara Varnana (love) are central, while natural descriptions like Sandhya or Rutu enhance the setting.

Source Reference

The concept of Ashtadaasha Varnanaalu and their role in Telugu Prabandhas is detailed in scholarly works, such as the article by Prof. D. Venkatavadhani on Prabandha in Telugu Literature. This source emphasizes the ornate style, the influence of Sanskrit Mahakavya, and the specific characteristics that define a Prabandha, including the inclusion of these 18 descriptions.

Notes

  • While the list of 18 descriptions is standardized, their application may vary slightly depending on the poet or specific Prabandha. Some poets might emphasize certain descriptions more than others based on the narrative’s focus.
  • The Ashtadaasha Varnanaalu are distinct from the Ashtadaasha Puranas (18 Puranas), which are a separate body of ancient Indian texts composed by Vyasa, often confused due to the shared term “Ashtadaasha” (18).

If you need a deeper analysis of any specific description or examples from particular Prabandhas, let me know!

 

Saturday, June 28, 2025

The Definition of poetry and a novel

 The Definition of poetry and a novel

 

à°•à°µిà°¤్à°µం, నవల à°¨ిà°°్వచనం

నది à°…ంà°Ÿే à°•à°µిà°¤్à°µం à°•ాà°¦ు. తలుà°ªు à°…à°¨్à°¨ా à°•à°µిà°¤్à°µం à°•ాà°¦ు. తలుà°ªుà°²్à°¨ి à°­à°³్à°³ుà°¨ à°¤ెà°°ుà°šుà°•ుà°¨ి à°ª్రవహిà°¸్à°¤ుà°¨్నది నది à°…ంà°Ÿే à°•à°µిà°¤్à°µం à°…à°µుà°¤ుంà°¦ి. à°°ెంà°¡ు à°¸ంà°¬ంà°§ం à°²ేà°¨ి పదాà°²్à°¨ి à°•à°²ిà°ªి à°’à°• à°•ొà°¤్à°¤ పద à°¦ృà°¶్à°¯ాà°¨్à°¨ి  à°¸ృà°·్à°Ÿింà°šà°¡à°®ే à°•à°µిà°¤్à°µం. కథలకు à°•ూà°¡ ఇలాంà°Ÿి à°¸ూà°¤్à°°à°®ే వర్à°¤ిà°¸్à°¤ుంà°¦ి. పరస్పర à°µిà°°ుà°§్ధమయిà°¨ à°µ్యక్à°¤ుà°²్à°¨ి à°’à°•à°šోà°Ÿ à°šేà°°్à°šిà°¤ే à°—ొà°ª్à°ª à°¨ాà°Ÿà°•ీయత à°ªుà°¡ుà°¤ుంà°¦ి. 

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The Definition of poetry and a novel

A river is not poetry in itself, nor is a door. But when a door is flung open and a river surges through, it becomes poetry. Poetry emerges from the fusion of two seemingly unrelated words to create a new, vivid image. The same principle applies to stories. When contrasting characters are brought together, profound drama unfolds.

Stories, too, fall into two types. One type follows a person leaving their homeland to embark on a journey. The other involves a stranger arriving in a village. Both types are present in the novel Barrister Parvateesam. Parvateesam leaves his remote village in a colonized land to travel to the country of the colonial rulers. From India, a colonized nation, he ventures to London, the capital of British colonial power.