Autor: Merriam A. Grain
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Where from
Where has this fire come from? It’s percolated subtle, In the warm blood of spring rains. Unconscious camouflaged and unnoticed. Where does this noise come from? Disharmonious; Your tell-tale voice of sweet, unlikely twit. It came like death. Latched on to me; Becoming true, Certain with tik-tak as time. Not even now I suspect myself diseased.…
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Completo o incompleto: anatomía de la anacronía narrativa
Aquí voy, de nuevo a meterme en camisa de 3 varas[1] (para alguien pequeño como yo, bastan 3 varas para que sea una empresa un tanto… imposible). Y para eso, hay que recordar que es una anacronía porque entre la entrada pasada y esta, a mí, ya se me olvidó. ANACRONÍAUna fábula es el recipiente formal…
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How to write a fiction masterpiece… in theory 2
It is awfully tiring to read aloud, long and poorly punctuated sentences that don’t flow at all. Plus the difficulty of changing voices, accents (most authors don’t but you might feel a bit of seiyuu) and to top it, get perfectly stuttering and stop and go silences. Think your throat will pay the price of…
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Vive la égalité!
No sé ustedes pero sólo por el punto de la igualdad deberían existir este tipo de cosas más a menudo en los medios.
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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…
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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…