Blog
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Lascivious advice

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Whisper twister,
Your warm breath on my ear.
Your eyes caress-slime on my breast.
All I do is cover with wings,
Things I can’t confess.
Your wrinkles sparkle,
And it burns inside.
The horns amidst your locks,
And I’d like to hold myself there….
Covering with wings,
The things I won’t tell.
Ideas of furnace,
Bad advice….
I can’t help to desire.
Day after day,
Your hooves crushing on leaves.
Closer to the meadow,
Splashing the creek.
And I can’t tell but help,
My chest wishes ahead.
Oh bad advice,
You shouldn’t murmur to Cupid. -
¿Cómo y por qué el POV no cubre la focalización?

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Esto está difícil. Comprendo el POV. Que es la forma gramatical de la persona que lo cuenta: primera persona, tercera persona, omnisciente y chisme (¿en serio no crees que hay chisme en la literatura?). Y Mieke Bal ¡menciona las teorías de la narración! ¿Significa eso que conoce la escritura creativa y sus ideas pero las considera inútiles para clasificar textos como narrativos o que no cubren únicamente éste aspecto de la percepción y su exteriorización?
FOCALIZACIÓN
<<El punto de vista no cubre las relaciones entre los elementos presentados y la concepción a través de la cual se presentan. >>
Teoría de la narrativa (Una introducción a la narratología). Mieke Bal.
¿Queso?
Por lo que entiendo, de forma similar a lo que explica Hilary Mantel en alguna de sus 5 conferencias sobre adaptación e historia de 2017, Mieke explica que la objetividad es imposible:
<<La percepción depende de tantos factores, que esforzarse en ser objetivos carece de sentido.>>
Teoría de la narrativa (Una introducción a la narratología). Mieke Bal.
PERCEPCIÓN, MARCO DE REFERENCIA Y FOCALIZACIÓN
La percepción no es solo un asunto de quién, sino medioambiental. No se puede percibir aquello que no se nos ha enseñado a percibir… En la biblioteca de la UAM hay un libro que habla sobre la percepción visual de niños muy pequeños y tribus de regiones muy aisladas… Ninguno de ellos puede percibir seres humanos o rostros en una fotografía. O un cubo dibujado a línea. Mieke dice que solo se puede percibir aquello con lo que se es familiar. Hilary Mantel que el historiador es humano y parcial. Con gustos propios e intereses particulares.
Por lo tanto, la percepción que tenemos sobre la narración es no solo influencia de la forma de la narración sino de quién cuenta sobre quién hace. Y las dos cosas no siempre son lo mismo; una persona puede expresar la visión de otra. Alterando la percepción que se puede obtener del punto de vista; hasta el punto en que se tenga la idea que el mismo personaje el que cuenta su historia aún cuando la persona gramatical sea en tercera persona. El foco de la percepción acerca del actante y el narrador puede no tener concordancia lógica.
¿Crees que soy yo en primera persona la que actúa y explica o hay una discordancia gramatical de focalización? ¿Es esto un tostón? Sí es así, no les des like y deja un comentario de desagrado. Estoy escribiendo mientras miro un documental sobre la mata viejitas y leyendo los mensajes de Sergey Bryn… Probablemente nada del día de hoy tenga sentido.
Pasto kalo -
Is love plot a fairy tale? 1st wing

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So, we have proved love is true… Ronald B. Tobias introduces a bunch of unknown (to me, maybe you’re a lot more knowledgeable than I am and that ain’t sarcasm) tales in his book of the 20 master tales. Such as Orpheus and Eurydice[1], the African Queen and some guy called Adam Bede to tell us:
Adam Bede
«It seems the higher up you go in the hierarchy of literature, the more unhappy love stories get.»Is it? Well, if I take a look at Shakespeare it is understandable. At least one of his love stories end up with two corpses. Gatsby… I don’t remember a lot of Gatsby but the fact that he woke up very early so I never noticed the great unrequited love (passive obsession?) story with Daisy[2].
This plot is like… (according to Ronald B. Tobias), or more like IT IS (regardez moi) A FAIRY TALE.
THE CHARACTER TO BE LOVED
Here it comes the magic or the alchemy (as Big Choma calls it). The love plot has its anchor attached to the charm and plausibility of the character.
To begin with, a common relatable name. Mary, Rick, Enrique, Fernanda, Malik or Fatima or Woojin and Hye Na; meet at school, the job, at the street, taking a taxi, a weeding. Anyplace we have been at least once (even if it is the millionaire’s house, the other party uses to be working under them… Thus, working). Never in a place like the hadrons collider, having a genius physics brother at the NASA, a mother with her own fashion brand or the dentist…
Unless it is an action gig. Then, unusual and hardly probable are at hand to add excitement by adding sexual attraction fantasies go the vodka vermouth of the bullet rain. That it used to be common to portray sexual attraction as love in romcoms and other romances in the love at first sight concept of things… (Some might retaliate saying this plots are just stories and we’re well aware things don’t happen that way in real life… I’d like to see a single one individual—aromantic people don’t count — who hasn’t very deep and innerly wished for this kind of thing to happen to them).
Anyways, you would need avatar situations and avatar characters whom are in appearance really unique yet they very only require our photo overlapping to feel identified. Specially if the one looking for love is down and in a bad streak of unfortunate events…(talking of Korean clichés) In real life we’re our most attractive when happy.
How so? Because I definitely feel more sympathetic towards a Japanese woman dealing with male chauvinism in any office than to any every other day genius.
EXCEPTION
In the original entry, I babble about how a novel with a 21 y. o. genius girl who finished school as a psychiatrist or psychologist and becomes a loner billionaire’s therapist with psychological trauma (not in touch with the rest of his siblings, all of them owners of their own companies); ends up flying midair towards the garbage bin. Why? I’m middle aged, definitely not a genius (I even doubt if I’m barely intelligent at all for I’m a writer instead of a stock broker) and I have maybe met millionaires (who buys Squalo necklaces, millionaires or simply wealthy people?) but not billionaires[3].
And right now you might be wondering:<<Why does this woman said «exception» when she rants about the novel flying midair? >>It has to do with some reason but… That is a different topic for a different entry. Nothing to do with next one. TO BE EXTRACTED AND PAID BY A TOOTH FAIRY NEXT TIME.
[1] I have listened about but I’m not familiar with the details, for there are always details.
[2] Maybe I’m really dull or just couldn’t get the book, not sorry about it. Not everybody has read Me Jane searches Tarzan. We’re even.
[3] Disambiguation: 18 year old guys I used to taught English to —maybe the opposite? — they were a bit spoiled.
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Tide

Photo by Anete Lusina on Pexels.com Thousand, hundred, maybe tens.
I don’t know,
I lost count.
Tiny, sandy, sharpy.
Is the sand under my feet wet at day?
Or is it sinking my own weight?
Not realizing when…
Ah ah ah ah…
Cold and wet.
But I’m already…
I’ve already got my feet in it.
Am I further in?
Or back to the untouched side? -
¿Cómo establece la forma el espacio narrativo?

INFORMACIÓN
Aquí en el ministerio de información, hacemos lo posible por ocultar gastos innecesarios y catalogamos como suicidios aquellas muertes en las que el occiso se metió dentro de una bolsa deportiva (entero) y murió dentro… Generalmente solo tenemos éxito ocultando ovnis. O eso dicen todas las personas que hablan de conspiraciones de encubrimiento.
Eso… Al mirar la palabra información solita dentro del texto sobre narratología, refiriéndose a la descripción del espacio como transmisión de información; no pude evitar pensar tales desfiguros. Fue demasiada tentación.
Y es que Mieke Bal dice que el espacio es necesariamente implícito en todas las acciones de los personajes… Con lo que la sinécdoque de la entrada anterior llama a la puerta. A veces incluso sin mencionar el espacio, éste se aparece.
«Salió de compras». Incluso si no nos dicen específicamente a dónde, el espacio está reducido a su mínima expresión y nosotros rellenamos ese espacio con un OXXO, el supermercado o un centro comercial. Todo de acuerdo con nuestra experiencia y la lógica de la acción involucrada. Así el ejemplo de Mieke involucra salir porque no se puede andar en bicicleta dentro de casa.
DESCRIPCIONES
De esta forma, cuando se pasa a darle una buena porción del texto al espacio alrededor del personaje, se le llama descripción.
Y la descripción puede estar ligada a dos cualidades narrativas interesantes: la percepción del personaje y/o su interacción con el espacio de forma que se realiza una acción con él.
Los personajes pueden percibir como frío o caliente un determinado lugar según este se muestre como amigable o desagradable. Se puede escapar del manicomio, esconder una carta debajo de las tablas del piso, chocar contra una puerta (de forma simbólica o literal). Con lo que la información que obtenemos del lugar adquiere importancia dentro de la trama ya sea como envoltura de las acciones o como un actante de dichas acciones; manipulando la percepción que tenemos de los acontecimientos.
Es todo por parte del ministerio de información. Si te gusto nuestro trabajo de ocultamiento, asegúrate de dejar flores en el buzón. Las flores anónimas de dedo arriba están bien. Las de tarjeta (con comentario) también.
Pasto kalo. -
Is love a walk in the park? Km2

NASA Snaps Nighttime View of Massive Iceberg Split by NASA Goddard Photo and Video is licensed under CC-BY 2.0
THERE ARE CLOUDS IN THE HORIZON
Many readers complain a lot when one of the leads is nothing but red flags (in the section comment of Webtoon for example)… In spite of the bad comments, those stories still have as many or even more visits than the really sweet ones. Why? Cause there’s conflict (and the writer has the stomach to take bad comments hating their characters).
It is plagued by trouble. And this is why I say it is the second most liked plot. It oftenly goes hidden among a hero’s plot or an action plot to spice things up when the action becomes too much or the hero’s path becomes too harsh. Spidy-Mary Jane, Mario-Peach, Naruto-Sakura-Hinata-Sasuke, Catherine Wells-the Bulgarian who isn’t a Bulgarian , Arwen-Aragorn, Firecatcher-Ewan, Howl-Sophie, eh… fill in the line with your fav couple from any non explicitly romance genre plot ____________________.
This plot will support the main plot as training wheels do help to surf the odds of keeping two wheels standing. It will help to keep a hideous murder entertaining by giving us the purpose of the 16 knife wounds. And it is the most difficult or them all… «WHY?! It is my favourite genre and I want to write super sweet wholesome stories!» is what I can listen to your brain shout.
Why… How many blogs like this are there out there? How is it that this blog has caught your attention despite all of them others? There are a lot of blogs and vlogs like this one, 500[1]? Talking about writing fiction.
So, it is almost impossible to write something original and magnificent. Note the almost. According to Lucy Worsley, romance was invented in Britain with Emily Brontë. According to Diana Uribe, it was invented by the Sufis…. My radar thinks it has over 5000 years of being. Maybe not as a genre but as part of other stories. As if Enkidush didn’t become human after a woman’s love… His relationship with Gilgamesh is one of the usual stages I’ve read for boy love. There’s a bunch of stories to read if you just want to create something slightly different.
And remember, three times must love be tested. Only once it has, it is true and there’s nothing we would wish more than true love becoming true.
So, in romance the how is much more important than the ending itself. WE ALREADY KNOW WHATS GOING TO HAPPEN.So what? Things are rough. Taboos as impediments used to be great against love. It was easy to create a juicy steaming forbidden love (juicy drama oozing plot and be aware I said oozing drama and not other substances). But taboos such as skin colour, sexuality, rank, social status -princess falling for servant… adultery or incest —of them all, the only one we have kept till these days more or less.
Taboos change. Black Romeo falling for a Caucasian Juliet is not anymore the same drama of the decades of 1960-1980; when such a marriage was illegal in America. In any case, we can change location to Korea and then our drama is filled by discrimination from the parents. Or we make them to be dirty blooded and iuuk. Pure blooded and dirty blooded?! Impossible. A big reason and axis idea to Malfoy never falling for Ginny or Hermione. I’m afraid I’m not being ironic. Malfoy’s capability to look at humans who are not mixed is quite similar to that of a zealot.
Rats! Yeah…rats! Create frustration, misunderstandings, ruptures, disagreements. Make the green monster of jealousy to raise its head. Just don’t be systematic. Anytime boy love runs out of gas, they systematically add a third wheel about to end. Be… less predictable. We want to know HOW is it that the lovers get together or get apart. Entertain our morbid curiosity.
So far the highway. I guess it is time to make a stop and rest, eat or go potty. See you next time when t done more nonsense. Like, comment and suscribe.
Pasto kalo.
[1] Maybe my exaggerated perception or an underestimation. It was after the doubt of how many blogs are there, that I really doubted if this blog would survive. And then I shrugged and thought in the most realistic way that probably not but I would keep trying. Since I didn’t study literature, my circus includes different freaks to the ones you usually see in such blogs.
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Nothing

Photo by Anete Lusina on Pexels.com I wrote.
You answered.
Simple, not pretense.
It’s nothing I think.
Expectation….




