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(En su imaginación)
<<Las «edades heroicas» que marcan, en distintas épocas y en diferentes lugares, la historia de las civilizaciones, no constituyen simples fenómenos literarios; los historiadores se han dado cuenta actualmente, gracias principalmente a los trabajos del erudito inglés H. Munro Chadwick, de que en realidad se trata de fenómenos sociales importantísimos.>>
La historia empieza en Sumer. Samuel Noah Kramer. Capítulo 26 La literatura épica.
Intended… My intention was to complete the task of talking on crisis last time but I got distracted by commuting so… All right. Robert McKee, the guy of Script, mentions how important it is to study transitions for it is in the dark corners of transitions that the monster cliché can lurk in to devour our carefully montage manipulation and have the reader go and flush our story down…
Transitions are related to the big crisis. The climax crisis. The one that solves the character’s wish. The one crisis that MUST:
1. Always show the decision taken about the crisis to emotionally hook to split the before and the afterwards.
2. It must be easy to understand. Nothing sophisticated or complicated. Explicit. And by explicit I don’t mean 19 rated. I mean, easy to get. Like my two characters of the intro deciding to use Tinder or Facebook couples.
3. From the decision, the scene has to dive directly into the consequences to accelerate the rhythm and hook. All right, my characters subscribe to Tinder the same day and with almost the same user name… She wins the use of the nick both of them want. Tinder matches her with a tall muscular guy she is to meet in a bar. Friday night, it’s time of the date and… It really is a muscular tall guy. Both of them go a motel. Jiwon meets a gorgeous curvy girl!
Note: this step can be split to delay the consequences until the next chapter in order to create tension and the famous cliffhanger. Readers believe they hate cliffhangers but the truth of trues is they love it. It’s what makes them come back to read 5 chapters of people fucking… I mean, having intercourse.
Gina goes with him to a hotel… The guy wants to be spanked. Jiwon asks for a beer to make courage. He looks at her shoot whisky inside to ask: do you believe in Christ? I used to believe there was not any god but since my rehab, I believe in the love of the lord… Jiwon excuses himself to go to the toilet and abandons his beer and the girl.
Second round. Why is a girl seated in front of me? Thinks Gina. I mean, she looks like a pretty boy but this is a woman and i don’t like women. *Don’t bother. I’ll write a lesbian or gay one some time I feel like writing it. It should be me complaining: Why is sex needed in plot? Aha. You sexual intolerant individual who can’t believe asexual does exist. So back to my story. *Jiwon has a delicate looking butterfly in front. Everything is alright but the Adam’s apple and the husky low voice… The toilets again. Oh my gosh. Oh my gosh. The girl followed him to the bathroom. She is bigger. And stronger. Her hands push him against the wall. Luckily, a cockroach greets him from his right, gets on his arm and Jiwon charges front to get rid of it hitting the butterfly with his elbow on full face.
Running away he trips over Gina, who has used the same toilet excuse as him. She accuses him of being a stalker. Jiwon refuses. The butterfly comes out from the bathroom but his ex is there with a baseball slugger. There’s a fight. The police arrive but the senior officer has been loosing his hearing to a respiratory infection so he can’t really understand what happened. Gina and Jiwon sleep in adjunct cells.
4. The crisis has to amaze us. It has to show us life exactly the way it is. Counting on us not having any idea what life’s like but being more aware of it than ISR officers.
5. A really big crisis needs speed. A match 3 ranger to take us there as fast as possible so we won’t loose momentum. Shorter scenes are in order.
6. Now think a proper ending to my nonsensical story. You’re reading nonsense about how to write fiction. And, to tell you the truth, you should be asking some lawyers and not me. Lawyers are the new priests of fiction.
Don’t worry. Just try your best to create a better reality for your best client, you (the other readers don’t know this yet). Pasto kalo.
Los dedos tiesos.
Remetidos entre las mangas.
Y los pies hinchados,
Doloridos dentro los zapatos.
Calcetines gorditos,
Eso necesito…
Y unos zapatos donde meterlos.
En opinión de Lilith eran mucho más graves los crímenes contra el desarrollo de la narración. Sí, algunas personas no sabían comportarse. Lilith ponía un espejo ante la Vida, y cortaba todos los trocitos de Vida que no encajaban bien…
Lilith, hada madrina. Brujas de viaje. Terry Pratchett.
The title is… From a song. But I’m not telling you in case of copyright. All right. It’s just a title coincidence: «crisis total» or the same total crisis.
It goes a bit like the following… Only a little bit for I have made up everything after the first phrase. It’s been a while I’m telling you mirror; I would like to change (my name is Gina) or my wishes. A hairy man to clean the bath, cook or carry the groceries bag.
Now, there is a fade to black and we can see a young man of three whiskers’ beard and sub developed muscles (he has just started working on his new year goals) dreaming with his romantic prowess. Oh, his name is Ji Won, he wears spectacles as thick as a guessing crystal ball and a black hoodie. Sorry, not all Asians look like _____________(insert name). Not all Latin girls have a Salma Hayek’s… Physique.
Whatever. It was the fade to black what was important. I know you know its name…. Or maybe not. Movies nowadays don’t have fades to black as transitions anymore. They rely on cuts and music but if I keep talking on how movies were, I won’t get where I’m supposed to.
Transitions don’t happen only in the movies. They can be used in comics, novels and short stories as well. They’re related to the crisis experienced by the characters and portray every little decision they take and that lead to the consequences. Building up the small snow ball to destroy town in the future climax. They can be actions, themed ideas, goal purposed scenes or rhythm sequences.
Besides the nonsensical I Jane search Tarzan (and finds the Swiss Nerd), let’s take my favourite transition of that moment (since I can’t remember anymore where it was used but I remember the transition by reading this)[1]. The transition goes like this: two people sign a divorce. Cut and two people sign a mortgage.
To me, this is a solid glue to cement two scenes that seem unconnected and give them more sense than a long walk that reminds me the long walk to change subway lines in «La raza», the longest and most taxing line connection in CdMx.
TO BE CONTINUED
[1] Maybe good transitions in good films are not to be remembered. They’re there only to make things go flow with flow and not in a stop and go kind of commuting.
Se reproduce,
Se ensancha y contagia.
Los tuppers vacíos ya,
Amanecen llenos.
Y de pronto,
La perspectiva de un poco más de adobado,
De dulce o ponche,
Es demasiado.
No me extraña,
Que el banquete sea solo un día del año.
Ah… Hoy cenamos,
Bonne année!
Topando la cosa. Decía que si estamos en contacto con lo no perceptible proveniente de más de un personaje en un solo texto, resultaba obvio que el texto era ficticio. Y de cierto modo sí que resulta obvio. Pero no de otro. ¿Has visto los documentales testimoniales?
De forma convencional, un documental es una forma de narrativa que no se considera ficticia. Por lo que cada testimonio está revestido de la «verdad» y de la «realidad». Un testimonio sobre lo que se piensa o pensaba, es un asomo a lo no perceptible de cada persona que forma parte de dicho documental. ¿Es esto ficticio?
Además de la confusión resultante sobre la realidad; puedo incluir otro tipo de ficción que no es precisamente una mentira pero tampoco existe… Por lo menos no fuera de ciertas cabezas en conjunto. (¿Existe la ficción colectiva?)
LA FICCIÓN LEGISLATIVA
<<Si un juez ordenara la disolución de la compañía [Peugeot], sus fábricas seguirían en pie y sus trabajadores, contables, gerentes y accionistas continuarían viviendo; pero Peugeot S. A. desaparecería inmediatamente. En resumen: Peugeot S. A. parece no tener ninguna conexión real con el mundo físico [no está ligada con los objetos que produce, ni con las personas que trabajan bajo su denominación legal]. ¿Existe realmente? Peugeot es una invención de nuestra imaginación colectiva. Los abogados llaman a eso «ficción legal». No puede ser señalada; no es un objeto físico.>>
Nuval Yoah Harari. Homo sapiens.
Es decir. Es una ficción POR ESCRITO [narratología, es un texto]. No obstante, aquello que está escrito y que atestigua que existe; la imaginación colectiva que le da lugar, NO CONTIENE NI UN SOLO TESTIMONIAL EN PRIMERA PERSONA. Y no puede situarse dentro de lo perceptible. Es imposible percibir un S. A. de C. V. o un R. L.; sacarle fotos o grabar sonido. Podemos grabar a los abogados y al juez. Podemos sacar foto de los abogados y el juez [de los cuenta cuentos]. Pero la empresa (en este caso Peugeot, pero podríamos poner Adidas o Nike o Coca Cola), la idea de la compañía como entidad legal existente; NO ES PERCEPTIBLE.
Por lo tanto… Es ficción.
¿HAY FORMA DE SABER CUANDO ES QUE UN TEXTO ES FICTICIO?
Y probablemente en este momento ya tienes la leve sospecha de que estás en un complot. Nah. Solo estás leyendo chorradas. Solo que las chorradas son importantes.
¡Feliz lo que sea! Pasto kalo.