SKU: 68049817973
magnolia home fiddle leaf fig

magnolia home fiddle leaf fig Shop for Fiddle Leaf Fig on PlantingTree.com

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Description

magnolia home fiddle leaf fig Shop for Fiddle Leaf Fig on PlantingTree.comIntroduction Add a Fiddle Leaf Fig and Transform Your Indoor Space! Beautiful houseplant with loads of character Stunning indoor tropical plant Large shiny leaves with a unique shape This plant cleans your air! Easy to grow (read our care tips below) Description The gorgeous Fiddle Leaf Fig is a popular indoor plant. It adds lovely texture and lively beauty to a room. With its tall, but lush habit this houseplant makes a statement. The Fiddle leaf fig

Introduction

Add a Fiddle Leaf Fig and Transform Your Indoor Space!

  • Beautiful houseplant with loads of character
  • Stunning indoor tropical plant
  • Large shiny leaves with a unique shape
  • This plant cleans your air!
  • Easy to grow (read our care tips below)

Description

The gorgeous Fiddle Leaf Fig is a popular indoor plant. It adds lovely texture and lively beauty to a room. With its tall, but lush habit this houseplant makes a statement. The Fiddle leaf fig is named for its fiddle-shaped leaves that are shiny and bold. The foliage is definitely the most prominent feature of this truly attractive houseplant.

Key Features

  • A great look for any home. This amazing houseplant can quite literally transform a room.
  • Add color, texture, and life to your home. The fiddle leaf fig adds so much umph to your living space.
  • Air purifying. Plants clean the air. The large leaves of this plant are great filters for air purification and detoxification. They also absorb carbon dioxide and release oxygen.
  • Low maintenance. Following a few basic tips will keep your fiddle leaf fig happy and healthy.

This in demand item won’t last long! Brighten your living space and clean your air! Order a fiddle leaf fig for sale today!

How to Care

Fiddle leaf figs are easy to grow, but there are some things to consider when bringing this plant in your home.

You need a spot with bright, but indirect light. This means you want this plant in a sunny room, but not right at the direct line of sunlight. So, close to a window or glass door, but not right in front of them if the sun shines directly into them.

For even growth rotate your plant every so often to keep the growth symmetrical rather than growing toward the sun. Some sources say every couple weeks and others say every 6 months. We recommend about once a month to begin with, but you can certainly observe your own plant to determine what is best for it in your specific location.

Avoid putting the fiddle leaf fig plant close to drafts of any kind. This includes drafts from a window, door, or vent.

Don’t forget to water, but don’t overwater either. This plant likes good drainage and is fairly drought tolerant. So the best way to water this plant is by watering deeply when the soil is dry. This will vary, so just monitor the moisture level by putting your finger into the soil about 2 inches or so. If it is dry go ahead and water thoroughly. Do not allow water to sit if you use a saucer.

Humidity is important. Since this is a tropical plant it likes humidity. The average humidity in a home will most likely be fine except for in winter when heat dries the air. We recommend misting your fiddle leaf fig daily in winter to keep the surrounding humidity up.

Dusty leaves. If the leaves of your houseplant become dusty or have water spots, simply wipe them off with a wet cloth. This keeps your plant happy and healthy and looking beautiful.

Potted plants do need fed more often than in ground plants. Feed your plant 2 or 3 times per year with our slow release fertilizer. This keeps your plant healthy, nourished, green, and growing.

Fiddle leaf figs do not require pruning, but spring is a good time especially if you want to shape your bush into a tree.

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SKU: 68049817973

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4.9 ★★★★★
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J
Verified Purchase
jk Smiles
Cuba, US
★★★★★ 5
A book on dialogue should be experienced first as a book on tape
Format: Audio CD
I think of this more as a great master class lecture. Dialogue should be seemingly simple (we all talk), but McKee defines its essence and differences for prose, stage and cinema. The bulk is narrated by McKee, but the scene examples are read by voice actors and they do quite well. Even the roots of the English language are examined in order to make better decisions on your character's particular use of words. After listening the 10 hours twice while commuting, I finally picked up the book and read it. The book on tape is a better way to initially absorb the material, while the actual book helps to clarify the info. A must for all writers, especially screenwriters.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on August 30, 2018
L
Verified Purchase
Lori T. Sly
Chelsea, US
★★★★★ 4
Helpful, but not as good as "Story" by same author, and it disses certain genres
Format: Hardcover
This book contains a lot of helpful information on how to write dialogue. It's dense with dialogue analysis and insights, tough to take in by just reading it through once. But it is helpful. McKee covers the three dialogue tiers (said, unsaid, unsayable) as well as how dialogue ties into story turning points and scene conflict type. I still have lots of practice ahead of me to figure out how best to do this in my story. I will definitely use his advice as a guide. He understands dialogue at a much deeper level than I do. However, many of McKee's dialogue examples did not speak to me. While I liked reading the dialogue examples for Breaking Bad, 30 Rock, The Sopranos, Frasier, A Raisin in the Sun, and The Great Gatsby, and agreed they were good, I disliked the dialogue from Shakespeare, Elmore Leonard, Sideways, Fraulein Else, and Lost in Translation. McKee says fine dialogue turns the reader/audience into a mind reader; I guess I'm not interested in movies which expect me to be as much of a mind reader as those latter examples did. I totally missed the subtext of the dialogue in those until he explained it to me as an aside. And that's after I already saw most of those movies! If I have to guess what every character means with every line, that's too much work and too little entertainment for me. Maybe mystery lovers liked the dialogue in "Lost in Translation"; I'm not a mystery lover. McKee quoted one novelist as saying that the crux of good writing is to, "Make em laugh, make em cry, make em wait." Lost In Translation and its dialogue did none of that for me. The subtext was so confusing and subtle that I lost interest in the movie. I can't even remember what it was about anymore, only that it won some award and I had no clue why. McKee says that with rare exceptions, a scene should never be outwardly and entirely about what it seems to be about. Dialogue should imply, not explain, its subtext. An ever-present subtext is the guiding principle of realism. Nonrealism, on the other hand, employs on-the-nose dialogue in all its genres and subgenres: myth and fairytale, science fiction and time travel, animation, the musical, the supernatural, Theatre of the Absurd, action/adventure, farce, horror, allegory, magical realism, postmodernism, dieselpunk retrofuturism, and the like. It's a bit unclear how, if at all, anyone writing in any of these "nonreal" genres should take his dialogue advice. It seems to me that even sci fi scenes need some good dialogue with subtext to be engaging. With McKee, all the accolades go to what is implied and unsaid over what is said. I agree that subtext matters, but for me, he's out of proportion with how much it matters to most people and how hard audiences are willing to work to discover the intended subtext. Also, memorable spoken character lines can elevate movie themes and characterization like nothing else. In the end, I think this book is geared more toward writers who want other advanced writers as their audience rather than the average reader or movie watcher. And McKee admits it is definitely not geared toward sci fi, fairytales/myths, action/adventure, horror or allegory. It's almost as if he's saying those genres can't have excellent dialogue. I disagree. But it was still a helpful book to read, and one I will be thinking about and trying to more fully understand for a long time. McKee understands how character's subconscious drives can deepen what they say or avoid saying, and how dialogue interacts with many other aspects of a story to make it all work together.
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Reviewed in the United States on December 12, 2019
R
Verified Purchase
Ray Pryor
Belleville, US
★★★★★ 5
Amazing.
Format: Kindle
Just like a good movie, the first 10 pages = mind blown. Wow, such really, really good material here. If you're new, this will help you a ton. If you're experienced, this book will help you realize WHY great dialogue is so great, enabling you to create the magic again and again. I love how McKee covers several medias ( screen, theater, novel ) but still stays true and clear on the concept. A virtual masterclass on the subject. One of the best screenwriting books out there, and Yes, it's well worth all the hype.
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Reviewed in the United States on April 18, 2017
K
Verified Purchase
Kindle Customer
Lowell, US
★★★★★ 5
So to speak
Format: Kindle
Previews did not show the Table of Contents, but it is worth searching the web for. The coverage includes practical techniques as well as case studies. Notes cover titles on topics over several decades. This book has four parts about what dialogue is, how it can mended, and how it can be created and designed. Trialogue, the third thing through which a pair of characters channel conflict in conversation, is an interesting concept because it overlaps social networks or media and comms devices; it is also looked at historically. Dialogue is reportedly the quickest way to fix a narrative text since it appeals to intuition. Those levels of depth are what the book is about. They can be found in first person voice. The approach could easily fill a site on the order of tropes for favorite titles, but for deconstruction and revision, which are also relevant to works in progress. It talks about finding characters in the dark, though not necessarily from the milieu, unless it were compressed and made to transfer meaning like in poetry, but reflexive so that it is symmetrical to the characters or human nature. If there is a boundary to be found, then this method is going to hit the lines to find out what happens then. The impact on the rest of the narrative elements is discussed. This extends back through the early philosophers, through tragedy, the merging of European roots into English, and the study of personalities to contemporary customs. Voice is plot.
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Reviewed in the United States on June 12, 2017
C
Verified Purchase
cf otto
Grantham, US
★★★★★ 5
ONE OF THE TWO BEST BOOKS ON SCREENWRITING
Format: Hardcover
Probably the best book on screenwriting ever (besides Egri), though there is also much here for the novelist and playwright. I am a professional TV writer, of long-standing (35 years), and I can tell you I used this book to figure out how to fix the problems of a complex pilot I'm writing; the author truly " guided me home." And lest you think I'm a McKee sycophant, I am not. I found little in STORY for me. The only thing I disagree with in DIALOGUE is that the author sells his own work short: it isn't just for those who are "lost" in their writing, like me, and the student, it's for anyone who writes fiction for a living, in any form, no matter how much experience they have. It's that good.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on October 14, 2016

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