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Página 13 – Sitio sobre chorradas acerca de cómo escribir ficción

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  • Is it the same the one who writes to the “writing person”?

    person holding white ceramci be happy painted mug
    Photo by Lisa from Pexels on Pexels.com

    ABOUT PEOPLE WHO WRITE

    A just anyone writer can wear turtle necks, listen only to classical music or be inspired by music… Place their tongue in whatever pleasure (metaphorically speaking) in front of the allotted word painting time… A normal kindergarten teacher coming home gets dinner heated in the microwave, takes her phone and gets every single character in her erotic novel nude and in acrobatic positions in bed.    

    A PERSONA, A GENRE?

    We must reckon we have a “persona” or avatar for every single space in which we need to maintain a mood. If you work in an office, you already know what I’m talking about (“Dead to boss” says the inner one). And if you have ever taught anything in a school, you must have at least three other personalities to cope with life.

    Then, if we count that, plus a “persona” for every single genre you try to write in; besides the ones for every character visiting your brain (in case you haven’t rented yet a professional studio for such a purpose) we start to think we’re crazy. But no.

    It is just that space and time are required to build up a certain mood… Right?

    THE WRITING PERSON

    However, it is not mental sanity I want to mention. It is the need to have this “writing persona” Cathy Birch (the creative writer’s workbook 2009 and this is not advertising) says is necessary to have one.

    I think it is not. Writing for me is exactly the same as other jobs. You need time and an investment of effort. Even cleaning bathrooms does require time and effort. Mental or not, that doesn’t make it more or less important.

    WHY AN AVATAR THEN?

    Because saying you’re a writer sounds cool when you’re making money out of it. It is not when you’re selling the TV to survive a few days more. Because it helps to do something embarrassing, as having people (not actual people butcharacters) have intercourse out of nowhere). It can be to make a little not so serious to write when it is only a hobby that would make you blush if the boss at the office came to know.  

    THE WORST AND THE BEST

    In between this and the other; writing is about what you like and what you hate about yourself.

    It is going to be your mask and your nudity. A mask to face the world. The nudity to show your intimacy (in a sort of unpunishable voyeurism). It is a disguise to make yourself go and speak up when you’re not used to.

    Sometimes, it is no more than a name. A name that makes people think what you want they think.

    Do you wear masks at work? Do you think you need a “persona”? Is it useful to think in avatars to change POV at writing?

    Warning: what you read was just nonsense about writing fiction. Have fun thinking in a “persona” to write what you normally would not. Pasto kalo.

  • Idioms made literal, animation

  • Acorn

    green acorn
    Photo by Eriks Abzinovs on Pexels.com


    Cracked skull,
    Its contents leaking onto earth.
    A white tentacle probes the air.

    Gravity pulls,
    Down the anchor tries bed.
    A little hard, a little raw.
    Down and down and down.
    The skull explodes.
    A green hand salutes.

    And the once zombie chap
    Waves November's light.


  • Supervivencia y realidades imaginadas

    hand with cigarette sticking out of water
    Photo by Valeria November on Pexels.com



    Así, desde la revolución cognitiva, los sapiens han vivido en una realidad dual. Por un lado, la realidad objetiva de los ríos, los árboles y los leones; y por el otro, la realidad imaginada de los dioses, las naciones y las corporaciones. A medida que pasaba el tiempo, la realidad imaginada se hizo cada vez más poderosa, de modo que en la actualidad la supervivencia de ríos, árboles y leones depende de la gracia de entidades imaginadas.

    Sapiens. Yuval Noah Harari

    De tal suerte que ciertas realidades imaginadas han sobrevivido mucho más de lo que deberían… ¿Te sientes con ánimos de hacer desaparecer algunas no sólo de tu propia realidad imaginada sino de las que escribes? Pasto kalo.

  • Wanting Ze (non serious yet short manual on how to write fiction application)

    syringe and pills on blue background
    Photo by Anna Shvets on Pexels.com

    TWO VERSIONS

    For demonstration purposes, and let me say this wasn’t the best tale I’ve written; I’m going to do the storytelling as if I were answering questions (or the bullets proposed to solve story creation from the last entry) and a second version; describing what’s happening.

    IN CASE YOU DON’T REMEMBER OR DIDN’T READ THE AFOREMENTIONED ENTRY SINCE YOU LANDED FOR THE FIRST TIME IN THIS NONSENSE BLOG

    To create a story we need

    • A character
    • The character’s wanting or wish
    • The thing helping the character from getting their wish
    • The reaction or what the character does to beat such obstacle
    • The result: they get their wish or they don’t: this can be twisted

    WANTED ZE. Sketch idea

    ZE is a female mosquito. She flies over a grassy field and her radar detects a very attractive (from her point of view) human. They smell like CO2. She buzzes, excited. She goes closer. Close up to the neck. Ze pushes her siringe but something isn’t working. She flies over, buzzing. General pan of the human body, as if taking things in perspective.

    She goes closer to the legs. She can’t eat. She goes away. She comes back and lands on the man’s back. The six syringes in her nose go into the jacket. There’s a close up to miscroscopic level. Her proboscide isn’t long enough. Under the sweater there’s even more fabric. She tries to pull back her proboscide but one of the two saws gets stuck. She feels a breeze behind and then nothing. She is smashed.

    I AM BORED NOW

    Yes, it is kinda[1] boring but this is very simple model for a comic script in which you enumerate the things as they happen or will happen and won’t work as a tale[2].

    SECOND VERSION  (and this is going to be quite different to the one in Spanish since I write a little better than I did back then)

    Zzzz buzzes, wings a blur, a zoom here, another there to avoid that higher grass. The blades drip dew and she must fly around, a drop falls too close. Ze is out of danger.

    It is warmer there, it smells like CO2. She buzzes close to an ear, surrounds the body, yummy! Babies are in order after the meal… There’s no regret in not meeting them, she won’t know what happens after she lays them inside the pool.

    This prey is a two legged one and in very deep in a corner of her mind, she knows they’re all very strange but tasty. No fur, tender skin and colour don’t matter, a warm meal. Time to dig in! The long superior limb, that’s the place to land…. Her palps taste something awful. She buzzes a storm around the head. She looks down over the hair at the top. The downer limbs should be. She lands on fibers. No! The food is there… very close.

    She flies over again. Again, she buzzes a different storm. The other side of the side with the holes… Her legs feel soft skin. Yey! Her drinking Straw goes in… what’s this? It is a thin but thick fiver tissue and she can’t reach.

    Pull back! Pull back! She is unable to. One of the saws is keeping her there. She moves to right, left, up. A breeze is coming from behind. Her composed eyes peer behind. Her organs are not where they should be. Light fades to black.    

    —Ugg! —A second individual that was overlooked by Ze in her reckon makes a disgusted face.

    Which is better? Why?

    Have fun doing this with your own fiction. Pasto kalo.

    [1] If you’re trying to read as a tale….

    [2] Big Choma could explain this better in person personally.

  • Cat and cello illustration

  • Salta

    selective focus photo of grasshopper on leaf
    Photo by Jimmy Chan on Pexels.com


    Ton la hoja rebota,
    Ton el cosmos se dobla.
    Ton sobre el pasto cae.
    Un ejército mordelon.

    Invisible.
    Ton, ton, ton.
    Solo audible.
    A cada paso,
    El rumor.
    Hoyos en el verdor.

  • Sobre la «alta» y «baja» literatura

    green leafed plant beside books and mug
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    A pesar de que en los años setenta y ochenta dejó de ser habitual pensar que la ficción popular era una versión trivial y barata de la «alta» literatura, así como de equiparar esta última con pensamientos nobles y humanos y con un gobierno magnánimo, los detractores conservadores de la ficción de masas continuaron clamando contra sus efectos moralmente perjudiciales con el argumento de que satisfacía los pueriles deseos de evasión, emoción y fantasía del lector. Se creía que el consumidor capitalista había llegado a ser tan omnipresente que incluso tenía el poder de debilitar y malbaratar las historias que se contaban, vaciándolas de la riqueza y la variedad que habían poseído en culturas previas.




    Contra la lectura. Mikita Brottman. Blackie books. [The Solitary Vice (Counterpoint, 2008)].

    El lector es el lector. Tiene un marco de referencia propio (geografía y situación histórica, tecnológica y etnográfica). Eso ni la «alta» literatura lo controla. A quién le cae en las manos Dostoyevski o Salgari es con mucho, un asunto azaroso. En mi casa estaba Shakespeare en el librero y nadie dijo que no lo leyera. Tampoco nadie dijo nada de leer el Quijote… Que no estaba en el librero. Cosa rara en una casa dónde se habla español. Claro que Shakespeare estaba traducido y por lo tanto, era mucho menos oscuro que en el inglés original.

    Lo que habría que preguntar no es que vacía de contenido una historia sino ¿por qué es necesario evadirse? ¿Qué hay ahí afuera que es tan malo que con gusto una o dos horas huyendo de dragones/ladrones/la justicia es tan satisfactorio como para dejar de dormir? Aparte, claro de que en la ficción la inocencia siempre se demuestra antes y no después de la inyección letal. O que los dragones no existen de verdad… Bueno se llaman “el jefe”, pero uno tiene una espada mágica y se puede matar al dragón. Nadie irá a la cárcel por matar a un mal bicho de esos.

    Pasto kalo.

  • A nothing serious however really short manual to fiction writing

    close up photo of man wearing black suit jacket
    Photo by Andrea Piacquadio on Pexels.com

    This a somehow explained by me, in a really short way, what I read in Take off your pants by Libbie Hawker. Warning: I didn’t read it complete so if you might, please do.

    THE TALE’S CORE

    • A character
    • The character’s wanting
    • Whatever in between the character and the thing they wish
    • The actions taken by the character to overcome such obstacle and…
    • Do they get it?

    MY CHARACTER

    Someone simple. A mosquito. And since mosquitoes go zzzz, she is going to be Ze.

    WHAT DOES ZE WANTS?

    Blood!

    WHAT IS HELPING ZE FROM GETTING BLOOD?

     Mosquito repellents aren’t as effective as one would think. Thick plastic rain proved coats are along thick clothing. Let’s say this a commercial and Buzzing mosquito repellent is really good.

    HOW IS ZE OVERCOMING THE PROBLEM?

    Before I even answer, a short mosquito research is in order. What’s the name of their needle? What do they really store in their bellies?

    My super quick research says the needle is a proboscis with 6 needles! (two of them in saw shape to slice through skin. Only the females suck blood and their systems separate water from the red globules.

    DOES ZE GET HER WISH?

    Maybe. I don’t know yet.

    Can you make a short story out of this?

    Have fun with this short manual. Pasto kalo.

  • Cinderella tales from around the world