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A casa llega y entre libros se queda.
Los pies sobre la tarima,
Té a la mesa y migas en las rodillas.
De ella sale y entre historias trajina.
Las palabras describen cada piedra y pececillo,
un lirio o un yelmo.
Un cauce definitivo.
Extiende la mano,
Flotando se posan en ella.
Por color o tamaño,
En blanco, inacabable.
De tinta, infinito.
Ligeras estrellas como cometas.
Y entonces de vuelta,
Mirando infinito,
Un océano oscuro y maldito.
La gente quiere una vida ficticia y los personajes ficticios quieren una real.
Abogado, personaje. La rosa púrpura del Cairo. Woody Allen.
First, think of some real individuals you’ve come into contact with today (waitress, coat-check girl,car-wash attendant, etc.) and place them each in a scene with one of your characters. How will theseindividuals interact? What might they discuss? You never know when one of these “minor contacts”will have a big impact on a more prominent character. (And if you find one of these minor characters interesting, you may wish to draw up a separate character bio.)
Sarah Domet. 90 days to your novel. Day 7th
.
It happened one day that I wanted to have a boring teacher to explain part of the plot. The jealous minor character jumped out and accused my very important female support, of not knowing a lesson. In a world where not knowing was the same as being heretic… Thus death awaited.
I was unable to erase her interaction. It was my first time with a character doing what she wanted. No matter my designs. She was being real, vivid and honest. Bollocks!
Annoying.To erase her was to destroy a more or less good story. I’m no Borges, yet it was at least good enough for an opera prima… One I re wrote 5 times. Hereby, I was there. In need of a knight in shining armour to rescue my character…
This gave shape to the how I made it to the ending I wanted and had me erase a lot of bad scenes I loved [but equally lacked and were as cheap as making a girl rescue a dog from villager kids stoning it… In the middle of a harsh winter in the opening just so you know she has a very good heart].
Do treat your minor characters with respect. They’re not upsetting flies. They’re butterfly wings changing what’s going up in the dessert. They deserve you listening to them, your imagination allowing them romping around, doing mischief and dropping one or two H bombs behind. Your work will get better by trying to solve the aftermath.
Enjoy characters fucking it up. Pasto kalo.
Y sin anestesia nomás,
La hipodermica me clavó.
La satisfacción no fue menor.
Aunque la evidencia quedó,(una mancha bolita en la pared).
Pude aplastar al traidor...
¡A la maldita chupa [sangre]
que me dejó picazón!
La teoría del chismorreo puede parecer una broma, pero hay numerosos estudios que la respaldan. Incluso hoy en día la inmensa mayoría de la comunicación humana (ya sea en forma de mensajes de correo electrónico, de llamadas telefónicas o de columnas de periódicos) es chismorreo. Es algo que nos resulta tan natural que parece como si nuestro lenguaje hubiera evolucionado para este único propósito.
Nuval Yoah Harari. Sapiens.
Y que alguien me diga que la narración no es contar chismes… Sobre gente que no existe pero igual la vemos en la recámara con alguien con quién no debería, comiendo cosas que no resultan saludables, siendo despedidos o humillados, jurando recuperar reinos aunque sea hasta su último aliento (y eso es un chisme porque rara vez esos personajes se mueren), traicionando la confianza de otros personajes. ¡Ah! ¡El chisme!
Aha, so that’s how you turn causal into casual!
EUREKA (you might skip this)
The Eureka moment happened watching Luna Papa; 1999 movie directed by Bakhtyar Khudojnazarov, as a Russian, Tajikistan, Germany, Austria and France's collaboration. By the way, I was eating one of the few dishes I was able to cook then (without spoiling tomato broth or rice): diced tomatoes with boiled potatoes and canned tuna sprinkled with thyme over toasted tortillas (no, you for sure haven't even seen them).
WHAT HAPPENED IN THE MOVIE (you might prefer start reading here)
Mamlakat, a pregnant main character, meets a physician's trio buying blood... Illegally of course. Alikque, maybe not even a real physician, flirts with her among a police chase after them in the fake ambulance! Her father crashes his motor against the police patrol to get rid of them and save Mamlakat from going to jail.And that's it about this guy flirting with her. Until they meet again in a train, the fake physician about to be shot for cheating at poker. However, that comes later. For the moment, the storytelling distracts us by showing how much the inhabitants of Far Khor are outraged by the girl being visibly about to become a SINGLE mother. Which causes Mamlakat to run again from home... By train.Thus, she saves our guy from being shot, by saying he is the father of the big belly so he can't be killed because of gambling debts.
THE MILK IN THE FRIDGE RIGHT UNDER YOUR NOSE
Yes, I know. This is basic! Yet, sometimes, we have the milk under our nose in the fridge and we can't see it. We're too close or not in the right angle. Writing manuals can explain it with a surplus of examples and indeed, we fail to see it.
To turn causal into casual is like having a mouse at home. You haven't seen the damn rodent at all but you know it is there. How? Mice leave behind little round thingies— if you might not tolerate the word. They also leave nibbled cables/fabric/plastic, scraps of food and fiber balls behind them. Even the rain proof coat is susceptible to be eaten, besides the glue trap. There won't be the big smelly mud cake of cows…
None of the causal “facts” of our tale will be holding an "Acme bomb" tag. You won't see the mouse. You will see what's left behind.
And here I'm not sure if it is one of two ideas. Is it a bad story or a teenager story the one with a capybara jumping over you? I mean if after reading that Delilah Dreyfus, famous assassin, thinks: "It is impossible that they are in contact with the princess"; you can't deduce yourself, on your own, she is the princess and need more visible clues... Does that mean that you just lack experience or are you a person requiring books for dummies1—to tell the truth, once I tried one (grammar for dummies), it was so obscure and difficult to understand I gave up reading...
The mouse is there, we only need to be perceptive for good authors will leave behind cheese crumbs hidden among Quidditch games, pre marriage existential crisis, naked witches dancing. Anything that is unimportant, will happen and may never change the plot's going on. Anything to distract from the pure fact about to shatter casualty. Anything to hide the way dots connect has to be concealed by distraction.
In plainly good stories, the mouse can be seen but it is STILL a mouse and it will leave behind traces to look up for. Capybaras make stories too predictable. And even kids need a certain degree of thinking.
I hope you find this useful to think where to keep a mouse in your story. And if you ever decide to kill it, just do it a pain free way. Pasto kalo.
Poema de Miguel Hernández, música de Serrat.
Despite his size,
he moved the body or to be precise, the unconscious guy he had tied.
A spin a time,
A spin in life.
Tomorrow it would be a feast,
All liquified.
El cuento de la criada. Margaret Atwood.El relato de Defred tiene dos grupos de lectores: el que aparece al final del libro, en una convención académica del futuro, que goza de libertad para leer, pero no siempre resulta tan empático como uno quisiera; y el formado por los lectores individuales de la novela en cualquier época. Ése es el lector «real», ese «querido lector» al que se dirigen todos los escritores.
Y al que le rezamos cada noche para que compre el maldito libro… Oops. Yo no soy publicada, no tengo influencias y luego me piden que compre un libro de la nada para que lo critique. ¿Alguien me lee?