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Página 52 – Sitio sobre chorradas acerca de cómo escribir ficción

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  • Learn to code for writing? Loving the problems?



    LAST, SOLVING PROBLEMS IS THE GLORY



    You have to love solving the problems arising out of whatever it is you’re doing. Yep.



    Do you hate having troubles? Then you’re not where you should. Living is a problem. Writing scripts has problems. A novel is a dragon size problem. Short stories are modest problems then? Not if you’ve been lucky enough to read Borges, Monterroso or Bradbury. And I’ll apologize for leaving Chejov and Tolstoy out of the list but for a Spanish speaker, the MONSTER is Borges.


    Even a blog has trouble. Tuesdays comes, no idea what to write about… back then, now I know translating awaits and then the problems go like: Which is the following entry?, Is it translatable? (some entries are translations from English thus…), Am I translating it right or am I just doing Spanglish?, Is it in need of updating?, Do I part it to make it smaller to be more readable? 

    Saturdays. And the narratology topic is… Harsh on me; it is difficult for me to understand and hence, I have to choose between writing about not understanding or writing whatever it is i understood. Or using about any other quote I’ve found by Terry Pratchett or whatever.

    Indeed… I LIKE IT! It is inconvenient, and I have to wake up earlier whenever I haven’t written the entry on time or suffer cause there’s no internet signal and feel like I should work on time… Stop procrastinating, work harder and be better. Nonetheless, there’s me going through it; entertaining myself I’m doing a super big contribution to fiction telling. When all I’m doing is mumbling nonsense yet devil may care. I’m just a failure so a failure must write.  

    Oh, commercial stop. This was, in Spanish, entry no. 100. I made it past the 100! (I couldn’t believe it). Commercial break end.

    ENJOY YOUR PROBLEMS THIS YEAR! Pasto kalo.

  • When your pet is black but not a cat

  • Inmóvil



    Un cuarto de libro,
    Eso duro el instante,
    En qué el tráfico se dedicó a mirarme.

    De pronto,
    Las calles no eran un borrón.
    Eran autos con personas definidas.
    Algunas con el cigarillo colgando de los labios.
    Choferes consultando un pedido, antes de arrancar perdido.
    ¿A dónde moverse?
    Chicas esperando transporte,
    Con trencas afelpadas y de osos arrancadas.

    Y yo esperaba.
    Porque el libro,
    Tenía fin y yo miraba.

  • ¿Cuándo es que el texto es claramente ficticio? (Según la narratología) p1



    La Historia puede y siempre se registra de muchas formas (y no hablo del medio). Según el vencido (para salvar su dignidad), según el vencedor (para enaltecer y justificar su victoria) y según los mirones —o los chismosos —que no tenían nada mejor que hacer (observadores imparciales se hacen llamar…). Sin embargo, la idea de que la Historia con mayúscula sea algo ficticio o incluya elementos ficticios es una idea muy nueva…. O puede que no. Lo que no es importante en este caso porque debo dejar en claro cuándo es que la narratología identifica plenamente lo ficticio en un texto (que sea narrativo o no lo dejare en paz).

    NO PERCEPTIBLE PERO CREIBLE COMO VERÍDICO

    Si el texto está escrito en «falsa» primera persona (hay que recordar que la gramática no varía gran cosa entre la tercera y la primera persona, al menos en español), podemos leer la parte NO PERCEPTIBLE de una existencia. Lo que denominamos «pensamientos». En este sentido, podemos hacer pasar la ficción por un relato auto biográfico dónde el personaje mismo nos narra lo que acontece. Este acontecer será tomado como «factible» en la medida que los seres humanos compartimos la noción de la «memoria».

    Que la memoria puede verse alterada con recuerdos inventados para ahorrarnos pasar vergüenza o verse alterada por el paso del tiempo y la consiguiente alteración de la percepción cronológica… Yo no llevo un diario. No recuerdo cuando pasaron ciertas cosas. Algunas podrían haber pasado antes que otras. Por lo tanto, cuando hago un relato de mi vida, lo cuento «tal y como yo lo recuerdo» que no es lo mismo que «tal y como sucedió». Que es una imposibilidad planteada por Hilary Mantel incluso en el caso del uso de vídeo porque no es posible ser omnisciente de todo lo que sucede.

    NO PERCEPTIBLE Y CLARAMENTE FICTICIO

    De tal forma podemos confiar casi del todo en un relato de algo no perceptible en primera persona como verdadero; que la narratología plantea la lectura de lo no perceptible proveniente de varias fuentes como ficticio.

    En otras palabras por si no lo topas.

    Cuando en un texto es posible leer lo que piensa más de un actor o personaje, entonces este texto es claramente ficción pues es imposible tener acceso a los sucesos no perceptibles  (los pensamientos están dentro de la cabeza) de más de un autor al mismo tiempo.

    ¿Que no resulta obvio?

    LAS CHORRADAS CONTINUARAN

  • Learn to code to write? p1

    Yeah Alzheimer’s home… In a movement type similar to #covidisamyth, or like it was back then; when I wrote this and some very intelligent people advocated for hugging and going around unmasked… I never saw a single case but I can figure out the magnitude of the disaster since I’ve read The pale rider and if H¹N¹ was a horrifying happening without ANY of the quarantine measures we lived… (Introduce your brain to the use of imagination).

    Nonetheless, madness had visited me before and it is not an unknown caller. You must be already — and if this is your first time here get— familiar with my favourite phrase: this is pure nonsense and as nonsense I’ll proceed to nonsensing.

    Thus

    WHAT DOES LITERATURE AND CODING HAVE IN COMMON?

    A bunch of stuff… More like three bunches. And more like Spanish expresses it better but I won’t give up. Nonsensing is a human ability.

    If you were as kind to watch this video… —Indeed the video is not spoken in English, it has automatical subs.

    NUMBER ONE, YOU LEARN DOING

    This advice goes on with almost anything. Writing, cooking, kissing, loving. Living?

    NUMBER TWO: PICK A METHOD AND BE READY TO CHANGE

    How? Lost as we might be in the middle of living, we pick sides or go with the flow. Even that is choosing a how.

    We choose how and then pay attention to the obstacles and bumpers to step on the brakes if circumstances need an U turn or we go and park to rumminate the path.

    Writing, no matter how much you plan; is probably the most uncertain of processes. Characters shout out of line, the story turns out to be a different one of the one you had in mind, pepper doesn’t go well with macho banana.

    It is just that sometimes, things derail. No matter what Mahomet, the pope or the smart alecky rear twenty-x guy nearby (whom probably has been writing longer than i have) utter.

    UNFINISHED NONSENSE

  • Ghost house

  • Todo cagado



    Imposible.
    Ni un solo centímetro libre.
    Ah, tú condición urbana,
    ¿Te hizo pensar en un baño?
    Yo decía el prado.
    Con ovejas,
    Nada queda libre de bolitas saltarinas negras.

  • Formas de vida parasitaria



    A los cuentos les importa un rábano quién toma parte en ellos. Lo único que les importa es que se cuente el cuento, que el cuento se repita. O, si lo preferís, se puede mirar de la siguiente manera: los cuentos son una forma de vida parasitaria, moldean las vidas a su servicio, en función tan sólo del cuento en sí.

    Terry Prattchet. Brujas de viaje.

  • Screenwriting Fundamentals (by Blake Snyder, now left in low fire, notes by me) p4



    girl playing with bubbles
    Photo by Alexander Dummer on Pexels.com

    FUN AND GAMES

    This is when the character can have a moment of rest. Naruto learns how to create a Rasengan (not single handedly but still). Aang dominates the Earth element so fighting the princess is possible, yet very dangerous. The detective kisses Ana.

    IN THE MIDDLE?

    Why is it the middle when this is the highest of the peak or the lowest of the well? I’ll shrug it and go on.

    The bad guys are close and worse gets even worse. Not only Snyder as other authors do too, both events are treated as something different. No matter how closer they’re in the timeline as they’re in process.

    Kaguya family members come out and the darkness spread about, leaving everyone asleep. The offensive to take down Zuko’s father crashes down. The comics expert’s father and ex inspector Bruguera is kidnapped by the serial killer. Summarising, all is so #@$_ed up that we don’t know what to do. And I dare anyone who has written an honest plot to tell me they haven’t despaired. The black night of soul comes (in words of Snyder).

    The fox can’t win Kaguya’s force on his own. Aang’s self steem is underground and our detective won’t wear the suit…

    SOLVED CASE, WE ARE IN THREE!

    Hurrah! The shortest of the shortest parts. The climax and it will come to an end. Some people wish the story never ended… Some of us want it to end and once it does, it was either too short (a good one) or too long (stupid plot, bad execution, you name it).

     Sasuke decides to help. Aang learns how to take away bending and our villain confesses his plans to Bruguera. The innocent snowball from the beginning must fall on is at a speed we can’t or not want to help watching. EVEN IF WE KNOW WHAT’S COMING ON.

    Naruto and Sasuke are to defeat Kaguya. Aang takes away our archvillain’ s bending. The detective precipitates the bad guy into acid. The great ending.

    But not the great ending. Not yet.

    ENDING. THE CRIMINAL IS BEHIND BARS



    There are opening images, there have to be ending images. Hence fore.


    Naruto becomes Kazekage. Aang goes to Zuko’s crowning. Detective and co. discover the hideout of the villain, the Batcave for every superhero who respects themselves. The ruling idea has been fulfilled and that has to be shown. Or we have to show that it has been fulfilled with a twist.

    That’s it about the method since the video never mentions on what page to write this or that. The only one that’s clearly specified is the Entering to number two. Oh, remember you have just finished reading nonsense. Nothing is serious here. Everything is a Cheshire’s cat’s smile. Thus, I vanish.

  • Personary