How to write fiction
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What’s adaptation?
In these lectures I’ve argued that fiction, if well written, doesn’t betray history, but opens up its essential nature to inspection. When fiction is turned into theatre, or into a film or TV, the same applies: there is no necessary treason. Each way of telling, each medium for telling, draws a different potential from the original. Adaptation, done well, is not a secondary process, a set of grudging compromises - but an act of creation in itself.
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When we lack one of the following three p2
Talent requires hard work. Beauty takes a lot of hard work plus luck. No one can be pretty just going to the gym or applying expensive facial treatments. Worst, wealth is something that needs luck and an acute sense of business. It is probable none of us, poor mortals, get to experience at least one. Thus, we want to read about them.
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On how to ruin a tale p2
We need this order of logical situations happening because of this and this reason for us to feel things are properly moving on. Otherwise we're only zombie drones.
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On how to ruin a tale p1
Yep. We can have them to fall in love at first sight, have intercourse, becoming pregnant, shotgun wedding... Yet, this is NOT something happening. It is not even a wedding speech, the least a story. The most drunken groom's friend could make it hotter than this. The important thing is not it happening. Or it happening to someone.The thing of the utmost importance is the reason.
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It is only after years of this sort of practice
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Why to show ONLY the tip of the iceberg when writing?
“If a writer of prose knows enough about what he is writing about he may omit things that he knows, and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of the iceberg is due to only one-eighth of it being above water. The writer who omits things because he does not know them only makes hollow places in his writing.” Ernest Hemingway
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A mermaid in the Sahara: using characters out of setting
The trick is to find a character who is anything but a fish in the chosen landscape. Our mission? To have them see it black enough to make unexpected but unavoidable choices (according to Robert McKee in Story). What would a farmer be doing in Wall Street? Why is a mermaid in the Sahara? How can an assassin remain a saint in Heaven?
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Grammar or no grammar? Aiming for invisibility
"The goal of your grammar usage in your novel is simple: Aim for invisibility.” Sarah Domet. 90 days to your novel.
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Grammar or no grammar? p1
I survive with a copy paste compass I acquired when young and incorporated now to my, sometimes, elephantine memory. We all have one. The memory that keeps anything useless and superfluous to others but us since we like the topic. Mine storages plots, titles and phrases. That's how I can write passably well in Spanish.
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Inner torn
This is the result exercise from an exercise proposed in the 90 days to your novel by Sarah Domet. It is a description of the insides of my handbag. Hopefully it won’t make you despair [anyways I’m unable to write the many many words other writers do]. Ah, I’ll update the original [in Spanish obv]. Inner torn Whenever I’m out, the handbag is a must. Regardless of my reticence to carry a wallet. Female wallets are too big to duck inside the jean’s back pocket. They’re awfully cute but unnecessarily bothersome and flamboyant for me to use. Feminism can be what it is, but it will never achieve shit so…
