Redonditas bolitas negritas,
En el alféizar.
¿Dónde está el gato?
En la cama.
El culpable inclinando una rama.
Menudo de tripita con muchas patitas.
Y no es uno,
Son muchos...
Muchas.
Que traerán sus espejos y huevos después de soñar.
Blog
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Rastro
Photo by Egor Kamelev on Pexels.com -
Le nouvelle descriptif pour les écrivains
Photo by Iurii Laimin on Pexels.com Si vous dites aux grandes personnes : « J’ai vu une belle maison en briques roses, avec des géraniums aux fenêtres et des colombes sur le toit…» elles ne parviennent pas à s’imaginer cette maison. Il faut leur dire : « J’ai vu une maison de cent mille francs. » Alors elles s’écrient : « Comme c’est joli ! »
Le petit prince, chapître IV. Antoine de Saint-Exupéry.
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About dialogue: She said, he said. p1
SHORT STORY
— We’re stuck here— he said, turning off the car.
— Without signal to call a toll, to top — she said, popping the pink gum bubble. A far thunder pointed out the rain would go on.
UNIMPORTANT INTRODUCTION
In English it isn’t as important to mark the she said, he said; though I wonder how sometimes people can’t get lost in dialogues the way I do.
Were this Spanish I would be making the conjugation joke before telling you this is an entry about dialogue from the 90 days on how to write your novel by Sarah Domet. Peppered with digestive enzymes and in the order I deemed important.
START WITH A DESCRIPTION OF PEOPLE TALKING instead of starting with a dialogue.
Auch. I’ve done exactly so. Sometimes, we visual people, and by visual I mean those who can or have the ability to use the eyes to perceive; we forget about the rest of the senses. We want everything there’s to be seen and we want it now. In spite of the advice for using phrase as: «she could lift the suitcase without a care it was heavy» to mark someone as strong or sturdy; most writers simply go for the description. Particularly those whose audiences depend heavily on covers and TV live adaptations.Anyways, Sarah Domet says ‘avoid’, which means it is a general advice, not a strong rule. And rules are to be broken… Once you know how things work. Nonetheless, I think we can make use of our other senses as well to feel the jagged and irregular metal of a statue welded all over and exposed to the rain. It is possible to write audio books targeted to blind people. Books that might end being listened to by me too since I like listening to stories while I sew.
TO BE CONTINUED
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Too wet
Under the bucket,
Pink thready meat of sorts.
Survivors of the cats and dogs it rained.
Without a place to go,
Anywhere to happily hole. -
De la individualidad
Photo by Teddy tavan on Pexels.com Por otra parte, la psicología, en sus poemas, es muy rudimentaria; los héroes de quienes hablan tienen algo de simplistas y se hallan casi siempre desprovistos de individualidad. Las intrigas y las peripecias están narradas en un estilo convencional y estereotipado.
La historia empieza en Sumer. Samuel Noah Kramer -
What are the 7 principles of theatre plays? p4
Last time it was all about how characters reacting and talking the way they’re supposed to on stage creates the mood but this entry is about TIME.
Synchronization:
In a play, time runs parallel; two to three hours happening in real time. A sort of dramatized reality show. What you see happening is happening in the time things take in the real world. Thus the convention is somehow shared with movies and TV… And yet there’s bullet time and fast forward video, hence time is a lot more constricting in a play.
Novels… Novels have Windows time. We describe or stop describing to set pace. To decode takes longer, we need to know the code. No wonder anime is more popular than manga. Manga/the comics require(s) reading (decoding); the totality of the action is limited to a certain numbr of frames (key frames) and, of course, paper arrangement to suit the available space.Anime is pure action in terms of movement and it doesn’t have a tradition of onomatopoeia and graphic symbols but can make use of the spotlight of the movies.
I believe this is why most people would choose the movie instead of the book. In the real time I describe a garbage container filled to the brim under a flickering street light making out the shape of a fish like teenager being talon greeted by the local gang, a video sequence has already done the number in less time. Just to read and understand the whole paragraph takes 20 seconds approx. Talon greeted? What’s that? How can a teenager be like a fish? So it takes more time than video to decipher, not to just read. Plus, we need to burn calories by imagining.
Enunciation identityThe actor assumes an identity and speaks in first person. There’s focalization but it is not dependant on the narrator. It is dependent on the order of revelation and is pretty similar but not quite the same to us playing to be the main character.
Partial focus. Do we feel cheated by an omniscient narrator who goes telling the story to their convenience? Maybe this is why first person’s narrative is becoming more and more common since each enunciating entity is not in possession of the whole truth. And theatre allows this individual voice without anyone clarifying who is saying what or who knows more than everybody else in a way you can’t miss statement- character. This is why we can see a hero chasing after the villain axe to hand or pistol handed whilst the villain is ready to fall from the ceiling.
Opacity. Not theatre, TV series or movie have this skull can opener quality which allows us to listen to thoughts and feelings as novel, comics and tales can in the same way Facebook or X do. Theatre has a dialogue half way between what’s possible to be said and the mess of a human’s mind that can be perceived through tone, body language and actions but can’t fully let us in.
For the video’s author, the first three conventions make a play up in the strict sense. If you were to break the three at the same time, there wouldn’t be any play at all. The other three are not as important and can even be the reason you become original when playwright writing but the first three are the core of theatre narrative.
This is why we go by trying to learn from the other media. Because theatre has its own strengths and weaknesses and we can use this knowledge to up our own game.
Whilst a narrator could be more effective at stating the conflict and painting it red than a dialogue, we can’t afford to waste time in a play. This is unique to theatre plays the way I understand narrative.
Summarizing, a playwright depends on dialogue to state the conflict, show the characters’ feelings (limited by time) and show us a climax. Together with the limited range of movements, there are no camera angles or zooming neither fades to black; so everything has to fit the real time on stage without edition.
It is in dialogue that we can trust to dramatize certain situations in our media, just like what happens in theatre.
Nonetheless, remember I’m just a nobody trying to explain herself the rules and ways of narrative out there thus this entry might be pure nonsense. No more drama and like this nonsense now !
Pasto kalo. -
Si los hombres escucharán como se habla de ellos…
Empezarían a pensar que esto vale la pena
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Stories
Oh, I’ve met poetry.
I’ve seen it parade over there, above.
It goes from sapphire to metal.
It is a storm in lie.
A wait in velvet for the light.
From the whitest white to the most royal of purples.
Green it likes.
And over brown it fawns.
Skies where you want to meet your dreams.
Solely to say goodbye. -
Cuentos sobre escritores
Las llaman «novelas». Deben de ser mucho más baratas de elaborar. Verás, se pueden copiar. Se utiliza la misma historia una y otra vez, y, siempre que tengas cuidado con cómo las vendes, te saldrás con la tuya. Le hace a uno preguntarse quién las escribirá. Supongo que gente que disfruta imaginando desgracias. Gente que no tiene escrúpulos en cuanto a la falta de honestidad. Gente que puede pasarse días escribiendo una extensa y triste mentira sin perder la cordura. —Golpeó la licorera con la uña de un dedo para acentuar lo que había dicho con un débil tintineo—. Mi padre, como es natural, es un experto. Afirma que reconocería una novela al instante si la viera. Dice que un libro auténtico desprende un aroma a… Bueno, él lo denomina «verdad» o «vida». Yo creo que posiblemente se refiera a «desesperación».
Lucian Darnay, personaje. El encuadernador. Bridget Collins. Penguin Random House