Autor: Merriam A. Grain
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Resumen y escena, dos escalas narrativas (tempi) importantes
Esto es porque es imposible darle significación a todos los minúsculos detalles que ocurren en el discurrir normal de la existencia. En otras palabras, para mantener la legibilidad de una fábula, se requiere eliminar todas aquellas cosas que le resten interés a las partes importantes. La causabilidad no se logra detallando al extremo de que…
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About rewards in fiction: lemon pay components to enchant readers
Fiction is like that. Like lemon pay. It gives you two rewards by reading it: purpose and satisfaction. And to analyze this particular aspect of fiction I’ll start by placing the crust by grinding the «biscuits» of knowledge. PAY CRUSTThe sun shines and the catherpes mexicanus in the garage, laughs with its peculiar call. I…
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For rent
Leasing, Borrowing what I don’t knowFor I never had a heart before Leasing, sinking in debt a pair of lipsI can’t afford Leasing,Giving on loanMaybe, maybeJust a bit of a fool Dancing,A waltz I stepOn your toes Don’t bring out tomorrowWeather forecast might failAnd I’ll forget rainSun or snow.So long that I love So long…
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The synesthesic writer (or about Kiki and Buba)
You might have already used this ability of your brain as a writer. No? There’s this rhetorical device or figure of speech where one sense is described in terms of another…
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Cosas que no sabía y ahora sí: 400 tlaxcaltecas en las Filipinas
400 tlaxcaltecas conquistan Filipinas
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Mi amante
Nunca en mis planesJamás elegido,Es dueño tras ademanes.De lengua bífidaY suave.Ojos brillantes.
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Isocronía: las 5 escalas rítmicas lineales de la narrativa (tempi)
compara el T de Historia contra el T de Fábula. Según la cantidad de uno o del otro, comparativamente hablando en texto, es que se establecen 5 escalas de tiempo a las que Mieke llama tempi.
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Review and survive the urge to destroy (your fiction masterpiece) 2
a) Believe in yourself enough to think the child deserves delivery. It needs a big ego but you need to believe in your craft or no one will