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How to write fiction

What do comics and poems have in common: silence p2

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WHERE DO WE FIND SILENCE?

In graphic communication, silence means the absolute blank and it is usually white or black You could think it is interchangeable with other colours yet, even a colour background is used as a statement, being black or white the absence of meaning. Colour possesses a certain musicality riling up a particular emotion. Just yellow can mean the maniac laughs of the crazy ones and green the buzzing of cicadas (for those of you who know the bug, I only know crickets). Only white or black are absolute since they symbolize death[2]. The blank page or the blank spaces as Ballesteros states in some poems, are there to stablish the idea of passing time.

And yes, it is true it works that way. In design there is such a thing called “air”. Without air, it is hard being able to discern any element from another. Typography needs small silences called kerning to be readable. Comic panels needs lines or even thin white space between vignettes. That’s how any visual thing is surrounded by small “silences”.

The white page before the frontispiece in “well born books”. The air surrounding a minuscule poem in a big paper page —a waste of material? The air surrounding vignettes, empty dialogue ballons, the empty landscape with moving figures in manga. A logo needs air to tell us about its importance. Can you imagine Nike’s logo on a flower patterned background? Apple on a messy colourful background?

Those are logos no one would use over a messy background (maybe Nike but even then the background tends to be faded). Thus, before talking metrics, composition, and rhythm; we need to respect silence. To listen to it.

We break the silence. It is the white or black without any word or image we intrude upon. We can create silence. That black or white around the word or image to create sequences, rhythm and interest. Silence is there for us to read it.

Have fun breaking the silence. Make a haste spreading it and having the town quiet, ready for the banshee. Pasto kalo.

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Fairy tale illustration styles

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Ulterior motives

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And the command of a peculiar army,
Made up of alphabet.
For my flag is writing and my vessel lying.
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Cómo escribir ficción

Herramientas que sobreviven el paso del tiempo

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Estás herramientas han soportado el paso del tiempo. Son más viejas que las pirámides, Stonehenge y las pinturas rupestres más antiguas. La contribución de Joseph Campbell fue la de juntar las ideas, nombrarlas y organizarlas. Él fué el primero en develar el patrón detrás de cada historia jamás contada.El héroe de los mil rostros es su testamento sobre los temas persistentes de la tradición oral y la literatura registradas: el mito del héroe. [Campbell] descubrió que existe una única historia sobre el héroe, recontada cientos de veces en una infinidad de variaciones a través de su estudio de los mitos «universales».

The Writer’s Journey. Mythic Structure for Writers. Christopher Vogler.

Universal era la única palabra que quedaba allí… Pese a que universal debería ser a lo largo del universo y no solo en un planetita azul dónde se dicen cosas como «Miss Universo» sin que ninguna otra especie de otro planeta participe.
Por otro lado, parecería con este extracto que basta con leer a Joseph Campbell para comprender como escribir ficción… Y eso no es así. Es fantástico, sin duda.
No obstante, Joseph Campbell no hubiera considerado nunca, ciertos mitos como parte del mito humano (el dinero, la religión, la Historia con H). No porque fuera menos inteligente que nosotros o estuviera en desventaja tecnológica. Es porque fue un pionero. A los pioneros se les ocurren las ideas por primera vez. A veces tienen tiempo de mejorarlas. A veces solo tienen el tiempo de reunir el material. Lo importante es tenerlos en cuenta como primeras lecturas cuando decidimos dar el paso. Disfruten sus lecturas de aprendizaje.

Pasto kalo.

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How to write fiction

What do comics and poems have in common: silence p1

person standing on rock formation
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IMPORTANT OR NOT

We all care about something. But, is it the same thing we care about? No, we don’t. Consequently, if we are to try and decide what comics and poems have in common, our answers might diverse as much as saying comics and poems are nothing alike.

Indeed, they are alike. Both are stories to begin with. Poetry is, yes it is my opinion and therefore not humble at all but still an opinion not a fact so convince me of the contrary; the nirvana all writers wish for. If the micro novel (6 words according to Hemingway) is the smallest unit of fiction; then poetry is THE story. The Enuma elish, The Odyssey…The Iliad…they are poems. Maybe because poems are easier to remember than prose.

Then if we look back to the old times as those of the poem as epic narrative; what do we get image wise? Trajan’s column in Rome, The book of the dead, Altamira, Johannes Vermeer or ukiyo-e. Yes, the last ones are way more modern than any epic poetry but still old enough to say comics have been around for a while. Are ruin engraves totally devoid of narrative?

WHAT ABOUT SILENCE?

Silence is nothing. However, important to fiction, design and perhaps, engineering. Without silence, there’s no tale, no reading and hence fore, no communication.

WHY IS IT IMPORTANT?

We break it. It is the white or the black we intrude into either with words or image.

We are the creators around it. It is the white or the black around the word (mostly scenes when talking prose) or the image we use to pause, ration or uphold as more important. Sequence depends on what’s missing and what’s there. Rhythm requires silence in between the groups. Interest depends on us getting quiet at the right time.

Alfredo Ballesteros1, prize winner… no idea which prizes for I have never met him and I doubt he would ever care about me; thinks it is a sequence we can drag to give space to contemplation. I don’t think so.

TO B E CONTINUED

  1. The chap has read his share of poetry and manga to be able to state such a thing; he is director to the publishing house Agua Verde and has no more information Wikipedia wise. ↩︎
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Mission impossible

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Domesticating takes a lifetime





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She's your faith,
I'm your nightmare.
I'll twist your words,
Finding ways to avoid.

Abandonment will mark your trust,
And in grief you won't forgive.
How I was gone.

Her voice is your song,
Mine a broken rancour,
The forgotten life's tremor.
Not a reason to stop.

That isn't love.









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De los universos múltiples y la incapacidad del lenguaje para explicarlos

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El doctor Rjinswand se restregó la frente. Le vendría bien una copa. Las ondas concéntricas de la paradoja se extendieron por el mar de la causalidad. Lo más urgente es aclarar a cualquiera que no comprenda la totalidad del multiverso que, aunque el mago y el turista acababan de aparecer en el avión, al mismo tiempo ya habían estado a bordo desde el comienzo del vuelo, siguiendo el curso normal de los hechos. O sea: aunque es cierto que acababan de aparecer en este juego concreto de dimensiones, no es menos cierto que llevaban toda la vida en ellas. En este punto de la explicación es cuando el lenguaje se rinde y se va a tomar un trago.

El color de la magia. Terry Prattchet.

¿Alguien sabe si la teoría de las super cuerdas sigue viva? Porque es de dicha teoría de donde salen los multiversos. De cualquier modo, siempre es un deleite hacerse la pregunta: ¿qué es la realidad?

Y si la realidad es aquello que ocurre dentro de nuestras mentes… ¿Lo que imaginamos para una historia existe en alguna parte o universo paralelo creado por nuestro cerebro? ¿Podemos crear universos paralelos solo con imaginarlos?

En parte sí. Porque existen las realidades imaginadas…

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How to write fiction

Why to watch out with words!

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Maybe you think words are not something to be wary of. Watch out! The traitors. Sometimes the complaint is hidden among them. They can be a quick peek into the horrible inner world of the character. And they’re easily misunderstood. Pick them with care. Or let them ooze without regard.

As unworthy as they seem, they can change a character’s world. In consequence, be wary of words and in awe too. Pasto kalo.

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When something very human is not in your nature…

I know. It might seem like the wish to make known to unknown people we don’t want to shag. Maybe it is. Still, we need the visibility. Why? To have others alike know they’re not broken. They’re just different.