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Upon fire
Desire spreads in breathless seconds, It is just inequitable, to say I’m sinking in love. For it’s just kisses, randomly popping as I fancy. Any person, anybody. Quietly…anyone around could be….. wishing to be involved, anyone, anybody. A hand on mine, some light lip brushing, anytime. Until the reason chickens, chickens out. Since it’s not the same. My cowardice acknowledges I’m being too much a wuss[1]. Is it too freaky, to wish for the real? The one who was chosen, memories ago? [1] Fiction again…
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Idéntico pero diferente: la función de la iteración retrospectiva en la narrativa
Y es que todo consiste en traer a cuento la misma escena pero narrada desde otro punto de vista. Entonces tienes la misma cosa pero diferente. Diferente porque en esta ocasión, hay información esencial que nadie nos había dicho.
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How to write a fiction masterpiece… in theory
When writing, we need to think the capabilities and weaknesses of our media. In movies we expect movement and action not a voice in off telling us what's happening. In a novel it is all right to have thoughts and more thoughts despite us needing conflict. A comic can have both. McKee says a boring book is one with a lot of explaining...
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¿La ropa lo pide?
https://fb.watch/iCi0zS_99q/
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Giggle
Dancing fair light, following a beat of wind and sky, you are that name for me. My only wish to be.
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La distancia también tiene un lapso narrativo
La línea de tiempo cronológica nos ayuda a visualizar todos los eventos de nuestra historia y a mezclarlos de modo que causen mayor efecto en la fábula armada. Nos ayuda a visualizar mejor la linealidad de nuestra fábula y a mejorar la experiencia “arqueológica” del lector. El trabajo del lector sería desempolvar las piezas y armar el famoso rompecabezas de nuestra “historia” de tal forma que se lo pase tan “bomba” como cualquier arqueólogo en Pompeya o las ruinas del Petén.
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Get ready to write fiction 3
A good writer is also a good reader and very observant
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Mary Shelley: a short podcast
Remember, this is a Monday patchwork thing dedicated to what I find interesting or attention worth, out there, related to either writing what I write or learning about writers. Enjoy or not to your discretion. Mary Shelley in You’re dead to me
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Lusciously unknown
Twice in life, pleased I’d be to pretend we’ve met, to forget thencefore. Just to be the first one, to erase any of your smile’s memories. Then, a second meeting, to love again what I’ve never met before. Since forgotten. For you, are no more than unknown. And what I love is an obsession of my imagination. Nothing more. Someone made up, close to real men. Yet, always gone by faked faded wishes. All collected. All withered. Besides copied verses; all in awe, all in vain and hopeless. Indeed insane, every night I were to kiss your insubstantial whole, somewhere a place blue birds sing, to find you once again…
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¿Cuál es el tiempo primordial del hilo narrativo?
Aquí es donde funciona conocer la linealidad de la fábula. Al conocer su linealidad o el orden cronológico, podemos podar e injertar lo que va primero en otras partes y alterar los descubrimientos del lector o poner en claro lo que ya sospechaba desde un principio; juzgando qué escenas resultan clave por su distancia con el “presente” narrativo.