Autor: Merriam A. Grain
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Love ain’t so far away
Cuddly balled on my bed. Small as well as silent. She remains my kin, Unless a fire. My friend, Unless earthquake. And my one, Unless my death.
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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…
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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…
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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…
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Get ready to write fiction 2
Start with known stuff: 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.
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Stranded
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…