Categorías
Cómo escribir ficción

¿Cuál es el tiempo primordial del hilo narrativo?

pink yarn and crochet hook
Photo by Anete Lusina on Pexels.com




Este principio complejo de La Iliada responde a la convención ‘que prescribe que se debe indicar de qué trata la historia.

Mieke Bal. Teoría de la narrativa (Una introducción a la narratología)

,
…. Antes de dar respuesta a esa pregunta, debo aclarar que Mieke se mete en cosas que la verdad me están sacando canas verdes (como dicen porque si las canas fueran verdes no tendría nadie que pintarse el cabello) y de las que no pienso hablar porque parece muy problemático eso de averiguar cómo es que encajan las unidades narrativas de la historia. Además de las dificultades del análisis de la secuencia que ella menciona usando apartados que hay que buscar por tooodo el texto. Y como a mí el análisis del texto para desmenuzarlo no me interesa, sino más bien como ese desmenuzar lo podemos usar para escribir ficción en lo que algunos llamarían ingeniería inversa… No me meto.

En vez de eso hablaré de las anacronías y distancia.

DISTANCIA

Se mide en kilómetros o en millas según….

La distancia es la lejanía de un anacronismo con respecto a lo que consideramos «el presente» de nuestra fábula. El “cuánto” se toma mide temporalmente con respecto a la línea cronológica y depende el punto de vista del personaje a través de quién sabemos lo que está sucediendo pues un anacronismo puede volverse subjetivo u objetivo.

En el ejemplo de Extraordinary attorney Woo Youngwoo de la entrada anterior, la distancia de la existencia de una madre “oculta” a la protagonista con respecto al hilo principal de la trama, es de 30 años (dado que es la edad de la protagonista) y que no en todas las fábulas puede establecerse tan fácil. Mientras más complicada sea la forma de la fábula, más complicada se pone la secuencia de la historia y más difícil es “medir” las distancias entre los anacronismos y el hilo principal de la historia porque hay fábulas donde el “hilo primordial” de la cronología de la fábula resulta confuso…

¿Has leído “Cien años de soledad”? ¿Recuerdas lo confuso que resultaba en ocasiones entender de cuál de todos los Aurelianos Buendía estábamos leyendo o cuál era el presente propiamente dicho de la trama?



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.



ANALEPSIS Y PROLEPSIS

…Grr nombres complicados y que podrían llamarse simplemente: retrospección y anticipación.

Pues estas dos cositas, retrospección y anticipación dependen de que conozcamos muy bien la historia en orden cronológico ordenado. Porque como construimos la fábula dependerá de si usamos el fragmento «histórico» cómo elemento vivencial o memórico.

Dicho en términos narratológicos, si se trata de un momento subjetivo u objetivo… Pero esto ya es bastante complicado de por sí para añadirle complicaciones antes de darte tiempo para que la ósmosis lleve todo esto a tu lindo tejido cerebral.  Así que, antes de causarte un cortocircuito, te dejo analizando este asunto del tiempo primordial del hilo narrativo.

Pasto kalo. Dale me gusta si te gustó, regalame un mensaje, nos vemos pronto con más chorradas en ingeniería inversa sobre cómo escribir ficción. 






Categorías
How to write fiction

Get ready to write fiction 2

young athletes preparing for running in training hall
Photo by Andrea Piacquadio on Pexels.com

Hi! Last time I was about to start nonsense about advice on how to begin writing fiction… Which I’m not very sure to know how anymore since I have an story in a long, long hiatus simply because my main character isn’t human. Whatever. I can still translate my Spanish original criticizing a website. Anyone can criticize, can’t we?

ADVICE ON HOW TO START

Start with known stuff:

Wiki discourages us from writing about things we don’t have idea such as Nordic mythology, historically ambianced romance[1]…. One of the first exercises of the «90 days to your book» by Sarah Domet is to write everything we know about the neighbour, our first partner, first kiss

Anything that comes as known and takes part in the contents of our safe box of a skull is what you know and should write about.

Patricia Highsmith would recommend having a notebook were to write or draw anything going on in life so we can relive later the same feelings and use them as material. Something akin to investing in treasury and take the money interest out later.

The following image by Big Choma is quite the example of what you can do with your own experiences by manipulating them. It is about… You can truly see what it is about.


 

Create lists of random stuff:

This advice is quite interesting and you can get random ideas using idea generators you can get in yeah, Google store and any other[2]. I won’t tell you names since programmes become apps and apps become obsolete in a sigh.

It is very similar to what Lanzarotearteurbano does in his video. I didn’t know rappers[3] can try following a programme feeding them random words to create stuff by giving the words rhyme and meaning (or so I understood from the video (Quite cool! As a writing/rapping/drawing exercise it is really a good one).

Create some characters:

This runs about giving characters depth either by using a chart generator such as a 10 x10 chart or My own character’s guide so you can cloth your character in details. Some authors use the personal unfolding technique. The features of themselves in combination to invented psychological traits, to make characters a lil bit more someone well known to them and easily manipulable (by dropping the bombs that will move them towards the desired endind). This is quite as if they were psychoanalyzing themselves — don’t take it as if I hold any psychology title because I don’t.

 As an example, Frodo tells Sam some people have to sacrifice something from themselves so the others can go on being happy. As if Tolkien was borrowing Frodo’s voice[4] to tell himself everything wasn’t in vain (going to the war of 1914…)

Yet… Characters can be used as vehicles to take us here and there depending on the plot. Forza plots don’t require very complex characters.  If Jiwoon of Eleceed were that complex, he wouldn’t go and help people getting himself in trouble and there wouldn’t be any fighting. Author might argue he is more complex than that but… tough I love reading the fights, Jiwoon is never going to be unfriendly or dishonest (giving a different dimension to the plot). Which is not a crime and Eleceed is an action manhwa.

Try to create a map:

Like those of the Middle-earth, or the ones of Earth-sea by Ursula K. Leguin. You can do that or rename the very city you live at, as Santa Bárbara or Vigata. For me, this is way easier to do since I’m spatially challenged (my own very way of getting acquainted with places is getting lost). After all… Mexico is loaded with streets called: Revolución, Guerrero, Ferrocarriles Nacionales, CFE, Escuadrón 201, Juárez, Felipe Ángeles, Reforma, Hidalgo, Madero or Colosio. I guess a little in the same fashion Russia must have a Lenin and Stalin street every city. As there must be a Washington or Jefferson street in at least the capitals of each state.

Start a diary or a journal:

It is said that successful people keep diaries. Writers keep work notebooks and a joke about this; is that we won’t get rid of them in fear of throwing away possible stories. These diaries can be filled with feelings in a media other than words about daily events (so don’t rebate and draw). It is like having a saving bank note you will use later.

Have a blog: this is advice from escritores.org (yep, you’re right in Spanish). It keeps you writing and teaches you how to order your ideas. Either with photographs or videos, not just text. Plus, it is a way to remain professional even if you aren’t being published.


Write letters:

In the Twitter, FB and Line era? A line sentence message is something easy. Try to put together a whole page whilst communicating (not just memeing) with another human being just by writing. You’re bound to learn a thing or two on how to entertain. A video or photo in IG will get a like to the most and you will get not that much feedback.

 And the advice is not yet exhausted. I’ll come back with more next Wednesday. Until then, be good, happy and do me a favour: either you like this or you hated it. Comment! (please).




[1] Real state?

[2] Dan chan told me there is the Snyder app

[3] I don’t like rap. It is one of those rhythms that like regaetton and norteña (country like music) are played top volume in robust buffers by drivers who step on the gas around here. You don’t listen to the music. You hear the vibrations of the woofers in the car’s windows. I’d love to become a torturer  and… make them listen to the 2 meters hight pile of music by Mozart tied to a chair. I mean, reggaeton is great but don’t force others to listen to it! Wow, I got to ramble instead of saying that looking at thus guy just practicing is awesome. He misses one or two words but he keeps going on. My respects, rapping is not easy and watching you practicing makes me feel like I should do more if it too.

[4] I mentioned this in a translation of a lecture about war and art by Margaret Macmillan but since you’re here I don’t think you will read it since it is in Spanish

Categorías
Lunes de patchwork: SNS y escribir

El cadáver del dictador

El cadáver del dictador https://go.ivoox.com/rf/88254825

Categorías
Sunday word hunter: poetry and nonsense To beloved ones

Stranded

crop faceless couple holding hands on balcony
Photo by Anete Lusina on Pexels.com

The longer I look at you,

even from afar.

The most I’d like to squeeze your heart,

orphan from your breast.

To claim it,

 as mine and no one else.

Break you to strayed lost shreds of daylight.

That’ s the way,

I want to kiss your frozen smile.

A cada parpadeo que se traga un segundo más de ti,

aún desde lejos.

Y más deseo,

hacer huérfano de tus costillas,

el órgano que te bombea la vida.

Separarte en tantas hebras,

deshiladas de luz de día.

Así, para besar congelada tu risa.

Categorías
Cómo escribir ficción

¿Por qué existe la narratología?

Categorías
How to write fiction

Get ready to write fiction



young athletes preparing for running in training hall
Photo by Andrea Piacquadio on Pexels.com

Puff… I know this is a blog about how to write fiction and I should encourage you but this is also true: there is no way to get prepared for something you don’t have idea how to do… Each book is different. Each book is as difficult to write as the previous one. Thus, whatever you learnt about writing becomes useless… In a sense. Nonetheless, we need to review the following 2 steps.

1. DECIDE THE FORMAT

The website on how to «Ki», says it all depends on if you want to tell a genealogy of the character’s relatives lives o a memory regarding a single character.

As certain as it might come as difficult for me to base a whole book in a single character’s psyche whilst some people are more than skilled in doing; this doesn’t determine the format. The less if we include comics or other adaptations.


Truthfully, the format might come out from abandoning technologies. Webtoons for example are wildly more popular now than the overpriced gringo[1] comic of 25 pages and their publishing, is more a result of public approval than one editor’s solo decision. Yes, webtoons have editors but you can still publish digital comics in your own page, Patreon, Webtoon or other places I have no idea about. And get popular without having an editor to decide if it can be published there. Editors jump into scene once you become popular … Same wise, self publishing in Amazon or other places, «erases» the editor as intermediary but it carries within on other troubles. Such as paying ourselves for publicity.

Besides these, there is Twitter, for there already are novels published 140 types at a time. Thus, why not Facebook, Line, Wattpad? Wherever.

Plus, there are many other things to consider about. Rookie writers like I was when I first wrote this entry in Spanish, use to start by writing short stuff. Which doesn’t mean something as a short story, can’t become a 150 pages length, in a more experienced writer’s hands. Like Brilliant phoenix by Bradbury. What started a short story, ended a great novel.

The decision of format is not just a decision. It is a summation of chained elements.



2. GET ANY IDEA OF SOME KIND

The phrase would get Sarah Domet a ‘little’ upset. How could you get an idea of any kind when you shall use the third or the fourth, perfectly reflected upon?


Not that the advice is bad. It is just the wording. It sounds like us corrupting the idea genie by buttering his toast[2] in order to be given one.

The website adds some more advice on how to better the empty universe of our mind, which I think, belongs to the area of creative or not creative exercises to write taught by different writers to start writing. You might know some, after all you must have already seen a lot or can read some more in Terrible minds[3].

Did you learn something new? If you did, give a like or comment and subscribe. Pasto kalo. Next entry I’ll review the advice. Let’s keep it short and simple for you to mull it over. Writing is an activity that needs lots of ruminating.


[1] Even Batman and Marvel have migrated to Webtoon

[2] I’m kinda aware my country is famous because corruption and in the original it says «mordida» (bite). Tough, one never knows who is reading and my particular way to anglanize idioms is not to translate but by making dot connections. Anyways, a mordida is a nice encouraging donation of security plastic paper printed with heros and remarkable people to enhance the imagination of its acquisitive power. And it is quite universal. You might say your country is free from, but I’m sure there are cases of it very well hidden on plain sight. Only in the Antarctic it must be difficult to be practiced.

[3] Original entry, there’s a reference to tips by Viaja con P de Pasaporte in Spanish.

Categorías
Lunes de patchwork: SNS y escribir

Amigos e intimidad

Categorías
Sunday word hunter: poetry and nonsense To beloved ones

Giggle

crop faceless couple holding hands on balcony
Photo by Anete Lusina on Pexels.com

Dancing fair light,

following a beat of wind and sky,

you are that name for me.

My only wish to be.

Categorías
Cómo escribir ficción

Cómo escribir ficción anacrónica

pexels-photo-552774.jpeg
Photo by Krivec Ales on Pexels.com



Desviaciones no cronológicas y puramente paja de mi parte



Por si nadie ha notado todavía que ni siquiera saludo y me voy derechito al meollo del asunto (dice mi yo más sociable)…. Hoy tengo que hacer paja (sí que puedes brincar directamente a las negritas.)

No necesariamente porque no tenga idea sobre qué escribir acerca del anacronismo. Más bien porque estas dos páginas que voy leyendo están llenas de cosas interesantes. Tantas que no sé dónde dejar de citar que no parezca plagio.  Si es que no es ya, plagio.

Cómo ya sabrás, uno aquí leyendo un solo libro y tratando de explicar de qué se trata, no es un asunto de generosidad. Es puramente egoísta. La mejor forma de aprender algo es intentar explicarlo…. Además de hacer[1]. Del mismo modo que Yuval Noah Harari[2] ha tenido que preguntarse varias veces, haciendo un pequeño alto en el camino, si sus estudiantes de primer año lo comprenderían.  Así yo pero para mí y quién quiera que esté leyendo estás chorradas.

Al principio del libro, la narratología parece un tanto inútil. ¿Por qué o para qué, identificar un texto narrativo como un texto narrativo? Porque la ciencia es como la inteligencia artificial. Le gusta establecer definiciones y variables que pueda medir y comprender sin la vaga etiqueta «arte»[3].  Si alguna vez has visto esas esculturas en forma de perrito salchicha de globo y pensado «¿Eso es arte? Creo que sabes a qué me refiero.  Por lo que dice Mieke, identificar un texto narrativo como texto narrativo tiene mucho sentido. ¿Y lo qué dice Mieke? En otra entrada. Por ahora….


Anacronía



Una desviación cronológica o anacronía es la diferencia de orden entre la historia y la fábula… ¿Eh? 何んでもない? 그거슨 이에요?

Recuerda que la historia es el orden de los eventos y la fábula la forma que adquiere la trama. Entonces, si la historia está ordenada de tal forma que no tenga el mismo orden de secuencia con respecto al orden cronológico de la fábula, hay una anacronía. Una discrepancia temporal entre historia y fábula.

Complejidad de la fábula


«Parece ser que las desviaciones de la cronología tienden a ser más drásticas cuanto más compleja sea la fábula. La explicación suele tomar forma de referencias al pasado.»

Mieke Bal. Teoría de la narrativa (Una introducción a la narratología)


¿Es este un criterio para establecer las diferencias entre algo para niños o algo adulto? ¿Las desviaciones cronológicas dependen formalmente del lector? ¿O es está complejidad, simplemente una explicación estilística de una fábula formalmente más complicada?

Al parecer y según yo, la complejidad formal de la fábula se basa en el «orden de las revelaciones«. Mientras más revelaciones tenga la fábula, mayores serán las alteraciones temporales o «anacronías» de la historia. Por lo que sí afecta al público al que va destinado el producto narrativo (comic, novela, película).

Si quieres escribir algo muy complejo, debes tomar en cuenta la linealidad de la fábula para poder extraer «dónde y cuándo» y alterar esta línea de tal forma que la historia tenga un orden apropiado a estas alteraciones.


Eh?

Pots muy sencillo. Siguiendo el cliché «medieval» de la telenovela, tienes una madre oculta. En el caso de Extraordinary  Attorney Woo Young Woo, la madre oculta sucede al principio de la historia. Pero no empezamos la historia en dicho momento lineal. No.

Introducimos a nuestro personaje como huérfanito de madre[4]. Después, introducimos a un padre un tanto conmocionado por una CEO que pretende usar políticamente a su hija… (aquel de ustedes que no haya sido usado como carne de cañón financiero —producto humano desechable de la compañía— en su vida que levante la mano y yo no la levanto). Inmediatamente presentamos a un personaje que busca ser… Miss universo, ministra de justicia, astronauta en una sociedad que ve mal a los hijos ilegítimos de una mujer. Predecible [5]

Un buen ejemplo para explicarte esto de extraer el «cuándo y dónde» de la línea cronológica para acomodarla después en forma de recuerdo. Al acomodar el nacimiento de Youngwoo en un recuerdo que se menciona cuando ella ya es abogada en Hanbada, el escritor cumple con empezar en media-res y zambullirnos en la historia, haciendo uso de la anacronía para crear una fábula cuyo hilo cronológico lineal no corresponde con la secuencia de la historia.

Y ahora, antes de que saque a relucir los agujeros de gusano y el salto interespacial… Dale like, suscríbete y comenta como era imposible saber que este blog te cambiaría la vida…


[1] Escribir dicen que no se puede explicar. O sabes escribir bien o sabes explicar bien pero no los dos… ¿A quién se le ocurrió?

[2] *¿3 libros o más publicados?

[3] Aunque algunos científicos son bastante buenos artistas… y descubren cosas además.

[4] Es que este es el cliché  más cliché de todos los clichés telenoveleros y me sorprende que lo hayan usado en una serie de ¡Netflix!

[5]¿Por qué la vi entonces? Porque ninguno de los actores es una primera elección para protagónico en un k-durama habitual. Por lo tanto, todos tienen que usar algo más que sus atributos físicos para mantener la historia y eso fue bastante agradable. Además de que tuvo momentos simpáticos

Categorías
How to write fiction

How to write fiction: understanding the basic mistakes (more mistakes)

pexels-photo-374918.jpeg
Photo by George Becker on Pexels.com

Yep, more mistakes you should make and correct quickly with this guide or wiki (I just comment on the advice). You should make them in order to become a great fiction writer or laugh it off with me.

               4. Don’t be too predictable:

Oh beloved cliché. Does it need to be treated in depth? This is a sloth case. Reading is a must. If you don’t, how are you to know anything and everything out there so you don’t repeat? If you don’t read the genre you want to write in, how the heck are you to know the requirements of the gente to change them? Do you think Lee Dong-gun (author of Yumi’s cells)  just popped up the idea of making the love interest to enter scene later? I mean, this is more like real life than the usual rom com but it fits the requirements of the genre and tears apart the idea that love interest has to appear at the very beginning of the plot.


LEARNING IS A MUST. And there audio books and podcasts. Not wanting to read[1] or not having time for reading is not an excuse.

Remember:  there must be a chasm between what the reader expects and the way it happens. What the reader’s expect can happen but try to make it in a way they don’t expect at all. This is being unpredictable.


Example:
Lancelot is a coffee table knight. It has been a few days since he noticed something strange in the cloud. Every now and then pop ups float whenever he opens the usual porn pages. The weird thing isn’t the damn add block to malfunction. It is what the pop ups say: «The world is ending in 7 days, help us find princess Celeste»

Yeah, this is nonsense. It is. But if my genre is action plus comedy; Lancelot is to SAVE the world and SAVE the princess getting himself into ridiculous situations. It is a requirement. The issue is: HOW THE @£££*-¥π^?

5. Show, don’t tell:

Conceal don’t feel…. Now they know, let it go….

To show or not to show? To save reader the trouble or not? Since this ain’t a novel, I’ll repeat it. Depends on your talents and what you aim to do. Let’s check out this example from the wiki:

[«—Let’s go!— said Julia impatiently». This tells the reader Julia is impatient but doesn’t show it. Now consider this sentence: —» Let’s go! —shouted Julia romping on the floor» The readers anyways will get Julia is impatient but you haven’t tried to tell them. You have shown it]

In design we would call the first dialogue » the whole instead the part» * Literary knowledge calls it synecdoche and since everything I know about design comes from linguistics terms, it is practically the same…  Which is nothing but showing the whole image or object without close ups since you need a fast understanding of what is happening. Your message requires expenditure and not trifles [more like details.]

The second belongs to «a part instead the whole«; like when you zoom into an object and you show a part of the object sacrificing the whole visual. This happens when you want a Gestalt effect and prefer the reader to complete the message on their own. You do it when you need subtlety not agility.

This last one seems to be the favourite of writing manuals writers who either complain of the excess of adverbs use (slowly, evidently) or would like to imprint the rule by repetition slams.

Exception: Robert McKee. Most probably because he concerns himself with script writing and scripts require action more than words, so to him it seems futile to speak of adverbs. The same comes for comics. You can read the character’s thoughts but you will never find a «he kicked weakly». More like the character kicks and the bully shows no pain.

Maybe the exception is in theatre, for it depends more on what is said than on what is done on scene. Not that there is no action in theatre plays but the amount of movement done is limited to what is possible and affordable in a stage.

Chuck Wendig says in “250 things you should know about writing”, dialogue is even better when it has the character doing something at the same time. This is good advice.

So… do we tell? Do we show? It depends.

Most of the time, using this technique gets a better immersion in the fiction.  Nonetheless…  Andrea Camilleri. Have you read him? He semi breaks this concept by using adverbs sometimes and expressing the emotion directly. And he got his Montalbano in the RAI tube.

6. No rule is set on stone:

As it becomes, six rules later we are told we can break the rules. And it is quite worthy to quote what the website goes on about: «a side of writing is discover the self voice and writing style so you feel free to experiment. Just be mindful not every experiment works out so of you try something new and it doesn’t produce what you thought, don’t feel guilty of it»


WHO HAS NEVER DONE ANYTHING, HAS NEVER MADE MISTAKES. We are to make mistakes, even with the mistakes we shall not make if we’re to get better at all.

I’LL BE BACK. Did you make the mistake of liking this? Don’t forget to $%&(“° it and like, comment and subscribe!  


[1] Many writers and editors despise people who want to watch the movie instead of reading but… There are so many ways people can be happy out there and learn things that just choose the one way you like and let them tear apart their clothes biblical fashion.