Download Scrivener Themes BETTER
Fajar Roux
Hi guys and gals! Apologies if there's already a thread like this, I couldn't find one. I've been using Scrivener for a longggggg time on windows and have always been kinda jealous of the really nice aesthetic custom themes and was hoping that with Scrivener 3 for windows there would be an influx of custom themes. Has anyone created any nice looking themes for Windows Scrivener 3? Not just changing backgrounds, or using the preloaded themes in the program?
Has your Scrivener app been stuck on the same boring colors for months now? Are you dying to update your theme to match the mood of a new writing project? Do you just enjoy changing colors based on your mood like I do? Finally, here are five new Scrivener themes to keep your writing fresh and energized.
Just like the andygruv/pisium theme, made by @MooddooM, all themes in this thread are the same in both dark and light mode, the difference being that in light mode your notes will appear in this Gingko/Andy-like mode, which was kindly provided by @death.au in this thread.
All that white too bright for ya? Scrivener now comes with themes, including Dark Mode. To access them, go to Window>Themes. Once you select a theme, you'll have to restart Scrivener to see it. Below is an example of Scrivener in Dark Mode.
Herman Melville's "Bartleby, the Scrivener: A Story of Wall Street" concerns an unusual character who goes to work as a scrivener, which is a person who works as a copyist. Bartleby works for a lawyer, who is the story's narrator. Although the Lawyer employs several odd characters, he has never encountered anyone quite like Bartleby.
Herman Melville's 'Bartleby, the Scrivener' is a short story that takes place in a Wall Street law office. The story's first-person narrator is the lawyer who runs the law office. He begins by informing the reader that he has known many scriveners (law-copyists) during his time as a lawyer, but none as interesting as Bartleby.
The story paints a picture of the daily goings-on in the law office before the arrival of Bartleby. The lawyer has three employees: Turkey, Nippers and Ginger-nut. Turkey and Nippers are both scriveners, while Ginger-nut is an assistant.
The conflict of the story begins when the lawyer hires Bartleby to be a third scrivener. At first, he seems to be working out great. The lawyer's first problem with Bartleby begins when it is time to proofread the documents. In order to quickly and efficiently check for accuracy, all the employees sit together with copies and go through them together. This is described by the lawyer as being 'an indispensable part of a scrivener's business.' When Bartleby is asked to do this, he replies, 'I would prefer not to.'
"Bartleby, the Scrivener" by Herman Melville is set inside a law office on Wall Street. The Lawyer, who is the story's protagonist has several eccentric employees, including Turkey, Nippers, and Ginger Nut, but the workplace does not enter the realm of the surreal until Bartleby joins the team. Bartleby works steadily at first, but soon he meets any request with the statement "I would prefer not to." Once he utters this phrase for the first time, Bartleby establishes himself as the story's antagonist, or the character who blocks the protagonist's aims. The Lawyer feels conflicting emotions about Bartleby's refusal to work, but he tries to help Bartleby leave the office and engage with society. When he won't leave of his own accord, the police place Bartleby in the Tombs. Once removed from the solitude of the office, Bartleby refuses to eat and dies. "Bartleby, the Scrivener" examines themes such as isolation, passive resistance, and the failure of communication. The story's author, Herman Melville, may actually be reflected in the intriguing and elusive character of Bartleby, the Scrivener.
Turkey: Turkey is an old scrivener who is the same general age as the lawyer, which is around 60. The lawyer is very happy with Turkey's morning work and disposition, but describes him as being 'reckless,' 'rather noisy' and even 'insolent' in the afternoon.
'Bartleby, the Scrivener' is the first-person account of a Wall Street lawyer's conflict with his employee, an eccentric scrivener named Bartleby. This short story is both humorous and tragic. The lawyer's passive-aggressive attempts to be rid of Bartleby - while trying to remain free of guilt - provide most of the humor. The story ends tragically with Bartleby's death. The themes of conformity and belonging are displayed in this short story.
How responsible is the narrator for Bartleby's salvation? Our narrator fails the scrivener, who clearly needs help, but Melville in no way demonizes his narrator. In fact, the narrator seems to go to greater lengths than most people would in his efforts to help Bartleby. But it seems far short of what is necessary, and indisputably the narrator stops short of his limits. Should there be limits to our will to help a man, if his life is at stake? Is writing off a suffering man by saying he's responsible for himself only a way to excuse our own lack of compassion?
The essential elements of a nonfiction template for Scrivener are a place to outline your work, separate folders for each chapter, a place to store your research (possibly divided into topics or themes), a place to take notes, and the front matter ready for when you export.
Like many artists, Melville felt constrained to choose between art and money. The turning point of his career came in 1851. With the publication of Moby-Dick, he grew disenchanted with his attempt to please the general reader. Instead, he cultivated a more spiritual language to express the darker, enigmatic side of the soul. Like his letters, Melville's style became tortuous and demanding; his themes questioned the nature of good and evil and what he perceived as upheaval in universal order. Pierre, his first published work after Moby-Dick, with its emphasis on incest and moral corruption, exemplifies his decision to change direction. His readers, accustomed to the satisfying rough and tumble of his sea yarns, were unable to make the leap from straightforward adventure tale to probing fiction. The gems hidden among lengthy, digressive passages required more concentrative effort than readers were capable of or willing to put forth.
Some of the major themes found within the short story by the title of "Bartleby the Scrivener," are the themes of the lack of communication as well as isolation in the life of an American. Isolation is found most prevalent in the attitude that Bartleby exudes; he makes the conscious decision to avoid his boss and his coworkers and eventually decides not to go to his workplace entirely and outright refuses to do his work, and he has a lack of both friends and family. His isolation is to the point that he does not eat unless he finds food that was brought by Ginger Nut, the lawyer's errand boy. The theme of lack of communication is demonstrated in Bartleby's interactions. When Bartleby declines to do his work with a simple "I would rather not," no objections are made nor questioning as to why he does not want to do his work. Furthermore, we do not even learn the real names of Bartleby's coworkers, as he is so inclined to avoid speaking to them.
Themes help you to understand the point of your book. A compelling story goes a long way by itself, and engaging characters can do a lot of heavy lifting. But themes are what give your story a reason to exist, beyond simply retelling a sequence of related events. Themes provide the context for your fiction that help readers connect it to their own lives and to the real world. When the ending of your book resonates with the themes of the book, that is when it becomes memorable and satisfying for the reader - and not just the last in a series of things that happened.
In any given book, I tend to have a couple of primary themes that everything revolves around, with a collection of secondary themes orbiting around the edges. The primary themes are the ones that drive the story, which all the characters are in some way exposing through their actions, and which the plot is designed to explore. The secondary themes are usually derived from the primaries, even if the connection is tangential.
Now I can think of themes as a subconscious (for the reader) guidepost. The theme may only become apparent to them at the end of the book, but they'll have a comfort throughout with how I address the various plot threads and characters, setting and dialog.
Today I\u2019m writing about themes. As a young writer, back when I was still in high school, it took me a long while to figure out why my stories never really felt as engaging as I expected. They had plots and characters, albeit rather rudimentary ones, but they were evidently missing something. That\u2019s what today\u2019s newsletter is all about.
Writing fiction in general clicked for me at the same time I moved away from obsessing over plot and instead focused in on theme. Figuring out your themes up front, before you start writing a single word of the manuscript, is like having a compass (or Google Maps\u2026) when you go on a long walk. Themes (or a compass, or Google Maps) allow you to wander off the main path occasionally, but without getting lost. You still know exactly where you are, and how to get back. It enables you to explore and wander, safe in the knowledge that you know what you\u2019re doing. You\u2019ll still get to your destination, it just might be via an unexpected route.
If you\u2019re unsure about whether to investigate a new sub-plot, or introduce a new character, you can run a check using your themes. Does the sub-plot help you to dive deeper into the themes of the story? Or is it an indulgence that distracts from them? Will the new character provide an additional perspective with which to examine the themes? If the answer is yes, you can dive in, confident that you\u2019re making the right decision. If the new idea doesn\u2019t connect with your story\u2019s themes, then it might be best to park them for the moment. Save them for another time, or even another tale.
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