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philodendron silver hastatum Philodendron hastatum 'Silver Queen' – Foliage FactoryPhilodendron hastatum 'Silver Queen' ('Silver Sword') Philodendron hastatum 'Silver Queen', also known as 'Silver Sword' in the hobby, is a silver leaved climbing Philodendron with arrow shaped juvenile foliage and a metallic silver green to blue silver surface. The leaves are smooth, pointed and narrow at first, then can lengthen into a more spear shaped outline as the plant climbs. The species Philodendron hastatum is native to south eastern Brazil,
Philodendron hastatum 'Silver Queen' ('Silver Sword')
Philodendron hastatum 'Silver Queen', also known as 'Silver Sword' in the hobby, is a silver-leaved climbing Philodendron with arrow-shaped juvenile foliage and a metallic silver-green to blue-silver surface. The leaves are smooth, pointed and narrow at first, then can lengthen into a more spear-shaped outline as the plant climbs.
The species Philodendron hastatum is native to south-eastern Brazil, where it grows as a climbing aroid in wet tropical conditions. In cultivation, 'Silver Queen' needs a warm position, an airy root zone and a firm vertical surface so the stem can lengthen without collapsing under its own weight.
Philodendron hastatum 'Silver Queen' silver foliage and climbing growth
- Foliage: Metallic silver-green to blue-silver leaves with a smooth surface.
- Leaf shape: Juvenile blades are arrow-shaped and can become longer and more spear-like as the plant matures.
- Growth habit: Climbing Philodendron with nodes and aerial-root growth along an elongating stem.
- Support: A pole, plank or board helps the stem stay upright as the leaves lengthen.
- Indoor character: A fast, vertical-growing aroid with a clear silver foliage effect.
Care for Philodendron hastatum 'Silver Queen'
Philodendron hastatum 'Silver Queen' grows best with bright filtered light, steady warmth and a chunky substrate that does not stay dense around the roots. Good stem support matters early, because the plant climbs from node to node and the silver leaves become more impressive when the growth stays upright.
- Light: Place Philodendron hastatum 'Silver Queen' in bright filtered light. Harsh direct sun can scorch or dull the pale silver leaf surface.
- Water: Water when part of the potting mix has dried, then let excess water drain fully.
- Humidity: Moderate to higher humidity helps new leaves expand smoothly on active climbing stems.
- Temperature: Keep warm and stable, ideally above 18 °C, and avoid cold draughts or cold wet substrate.
- Substrate: Use a chunky, fast-draining aroid mix with bark, mineral particles and enough air space around the roots.
- Pot choice: Use a pot that drains freely and can hold the support securely without tipping.
- Repotting: Repot when roots fill the pot, the substrate breaks down, or the support no longer sits firmly.
- Fertilising: Feed lightly during active growth with a balanced houseplant fertiliser at diluted strength.
- Growth rate: Growth is usually moderate to fast indoors when warmth, light and root aeration are stable.
Philodendron hastatum 'Silver Queen' pruning, propagation and mineral substrates
- Pruning: Remove damaged leaves or cut back a long stem above a node if the plant needs reshaping.
- Propagation: Propagate from stem cuttings with at least one node and healthy aerial-root tissue.
- Semi-hydro: Suitable for mineral or semi-hydro substrates if roots are kept warm, oxygenated and not stagnant.
- Training: Tie or guide young stems before the internodes harden, so the plant climbs cleanly from the base.
Philodendron hastatum 'Silver Queen' leaf marks, long internodes and pests
- Long gaps between leaves: Move closer to brighter filtered light if the stem stretches and the leaves stay small.
- Yellow lower leaves: Check for wet, compacted substrate or a pot that stays damp for too long.
- Brown patches: Direct sun, dry roots or physical leaf damage can mark the silver surface.
- Root issues: Slow growth with soft stems or yellowing leaves often points to poor drainage or cold wet roots.
- Pests: Check new growth, leaf backs and petioles for thrips, spider mites, mealybugs and scale.
Philodendron hastatum 'Silver Queen' toxicity
The leaves and stems of Philodendron hastatum 'Silver Queen' contain insoluble calcium oxalate crystals and should stay out of reach of pets and children.
Philodendron hastatum name origin and publication
Heinrich Wilhelm Schott described the genus Philodendron in 1829 in Wiener Zeitschrift für Kunst, Litteratur, Theater und Mode. The name comes from Greek philo- or philein, meaning loving, and dendron, meaning tree. Philodendron hastatum was described by K. Koch and Sello and published in Index Seminum in Horto Botanico Berolinensi 1854(App.): 7, issued in 1855. The species epithet hastatum means spear-shaped or armed with a spear.
With its blue-silver leaves and climbing growth, Philodendron hastatum 'Silver Queen' is a strong choice for a vertical aroid display.
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4.7 ★★★★★
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Product Reviews
★★★★★ 3
DNF
Format: Kindle
I decided to read this based on another review here. I started skipping and couldn't finish it. The writing is good but the behavior of the MCs put me off at times. Our parents took us camping (not car camping) a lot through my teens and the lesson was, from my youngest age, if the excrement encounters the turbine, get your bearings, assess, make a plan, follow it -- no time for drama. There would always be time for a freakout once the situation was resolved. (And if it wasn't resolved, freaking out wouldn't be an option.)
Apparently, neither Helen nor Lana were ever taught that lesson because there's plenty of drama, and I lost respect for them. Worse, the drama continues with this endless back and forth right up to the very last page. I actually blinked. I've read rushed endings before, but this took the cake.
Overall, this is a portrayal of women that bugged me. It felt almost stereotype-y regarding being overly dramatic and unable to keep it together under stress. Maybe I just hit the bad parts, but I couldn't keep reading to find out, in case there were more, and the repeated drama after the rescue didn't give me hope.
Please, Sapphic authors, can we have more books celebrating feminine resilience? Cara Malone has a pretty good one about a bunch of shipwrecked queer women. We need more of that, and less of this.
I'm giving this book 3 stars because the writing is good and I didn't finish, so may have missed better parts.
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Reviewed in the United States on July 23, 2024
★★★★★ 5
If you can only afford one craft book on Dialogue, this one is it.
Format: Hardcover
The art of dialogue. How does a writer get it just right to be effective, yet original, dramatic but not too dramatic, captivating and satisfying, and most important of all convincing? The thrust of this book is how McKee spends time on characterizations and the art of the subtext—vital to thrilling and effective dialogue. McKee explains how subtext works, the thinking behind it, shows you its most effective moments, why it works well or poorly, and gives you the tools to make it work. The result: amazingly clear insight. No kidding, if you want to fully understand subtext in dialogue and sharpen your skills, this is the writing book to get.
Conflict in dialogue, turning points, even sentence designs techniques. McKee describes the “suspense sentence” and the “periodic sentence.” Because prose is a natural medium for storytelling, you will learn how Charles Dickens used ‘counter pointing exposition’ and its effectiveness for the reader. I hadn’t seen this kind of hook in writing before, hadn’t heard this term before. Very powerful technique; of course none of us writes like Dickens, but what an example on how to swoop the reader in.
What’s one of the takeaways in Dialogue by Robert McKee? “Quality storytelling inspires quality dialogue.” Which inspires a read of McKee’s other remarkable craft book “Story”—a great companion read as both books belong on any serious writer’s bookshelf.
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Reviewed in the United States on July 28, 2016
★★★★★ 5
It's All Right Here. All of it.
Format: Hardcover
I shouldn't even be writing this review because doing so only creates my competition. I'm writing it for Robert McKee out of respect and love for him as one of the best instructors I've never met. I have both STORY and now, DIALOGUE in hardcover, on my Kindle, and the audio version (he narrates his books) in my headphones. I read it, I listen to it and take it with me when I travel. Sometimes I listen and read at the same time. Most nights I listen to the audio version in my sleep. In other words, I eat, sleep and breathe this book. I did the same thing with Story, his other book. I may go to my grave never fully comprehending the vast wealth of knowledge contained in these two books. That's OK. What I can tell you is this. With nothing but STORY as my guide, my very first screenplay took seven months and thirty-five drafts from start to finish. But. That screenplay became a Hallmark Movies and Mysteries feature film. The producers liked it so much they gave me another assignment. That one took six weeks, and they bought the first draft. I'm now working on my fifth script; this one is in the six-figure category, with five figures upfront just for the Treatment. And I owe it all to everything I've learned from studying Robert McKee, supplemented by what I learned from everyone else. Over the past thirty years, I’ve studied with forty plus instructors and highlighted hundreds of books and listened to dozens of recorded seminars. All that information is summed up and thoroughly explained in Robert McKee's two books STORY and now DIALOGUE. I won't live long enough to absorb everything he teaches. And I still study two hours a day as a warm up for my writing. I’d recommend Aaron Sorkin, Warner Hertzog, William Goldman (both Sorkin and McKee say he's the greatest), Blake Synder, Chris Vogler, Michael Hauge, William Akers, and anybody else you can find who’s willing to share their knowledge. Because you never know when a concept you didn’t realize you didn’t understand or needed is going to show up. Especially when presented from a different perspective. Having said that, if you are serious, and I mean dead serious, about becoming a working screenwriter, or any other kind of fiction writer for that matter, then you have no choice but to study McKee like your literary life depends on it. Buy the hardcover, buy the Kindle version, and buy the audio version of DIALOGUE and STORY. And supplement these two works with any other material that speaks to you. If you do this, you will become a first class screenwriter or novelist or playwright, because all three genres are only different ways of presenting a Story. If you can’t commit to this, unless you’re a genius or prodigy, you’re wasting valuable time which could be spent following your true life calling. But if your heart’s desire is to become a working writer, then sooner or later you’ll have to know everything in McKee’s two books. So, you might as well bite the bullet and jump in head first. It's all right here in STORY and DIALOGUE. All of it. Thank you, Mr. McKee. You, sir, changed my life.-- Jimmy Hager
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Reviewed in the United States on September 21, 2016
★★★★★ 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.
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Reviewed in the United States on August 30, 2018
★★★★★ 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