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Use a very defined ruling idea: adultery, murder, justice, anecdotic.
Use a very strong point of view.If it is a murder take a stance in favour or against and how you expect the reader to react.
Remember, for the second time, you’re to write very few words
Erase, erase, erase. Or to say it in the craft’s argot: edit. With the big scissor.
For en ending I’ll take a phrase attributed both to Mark Twain and Blaise Pascal:
Je n’ai fait celle-ci plus longue que parce que je n’ai pas eu le loisir de la faire plus courte[1].
I wrote long to you for I had no time to make it short.
Summarizing: to make something as short as a question mark, Victor Hugo must have spent more than a few hours thinking. He also must have filled the waste bin.
What do you prefer writing: long or short stories?
Enjoy both. Pasto kalo.
[1] It is attributed to Pascal in French… I shrug. I don’t know.
Todos los poetas emplean un ritmo y todos los lectores de poesía, escuchan dicho ritmo; tanto si lo hacen de modo consciente como sino. Sin embargo, la prosodia, la descripción y análisis de los ritmos poéticos; puede ser tan complicada como la notación musical y diferentes idiomas requieren diferente tipos de prosodia.
En los lenguajes clásicos, la prosodia es cuantitativa, se basa en el largo de las vocales o su cantidad. En el anglo-sajón (inglés viejo), la prosodia es cualitativa. Se basa en sistemas de patrones de acento o estrés (con otras reglas complejas concernientes a la aliteración p. 202). En los idiomas eslavos, como el ruso; al construir un montón de significado de manera sintética alrededor de una sola palabra al añadir prefijos y declinar las terminaciones, las palabras terminan larguísimas. Aunque existe una regla que solo permite un acento por palabra.
Aún así, por mucho, la poesía rusa se analiza habitualmente con una base en el acento pero con muchas variantes. En los idiomas romances, como el francés; las reglas de acentuación son más flexibles que en el ruso pero mucho más rígidas que en inglés y la poesía francesa usualmente se analiza con prosodia silábica, de acuerdo en el número de sílabas en cada línea.
The Poetry Handbook. A Guide to Reading Poetry for Pleasure and Practical Criticism. Second Edition. JOHN LENNARD. Oxford University Press.
Palabra nueva que seguro se me olvida en menos de una semana. Pasala bien aprendiendo cosas de las que no tienes ni idea para escribir mejor. Pasto kalo.
We all like survival. We all are survivors of something. The displaced Russians from Tajikistan have fled their home to go and settle in Chernobil. They have gone from surviving war to surviving radiation. We, the rest of us with a lot less dramatic survival feats, survive sickness, nature… stupid bosses.
In short, The old man and the sea is short, subtle and kicks ass.
HOWEVER, THAT IS NOT AN ARGUMENT FOR SHORT
The old man could be shorter. And according to literary analyze, Hemingway wanted to take us into a fight against adversity through dense[1] (in some critic’s opinion) prose. And the ending is equally futile as the useless struggle of K in The castle[2] by Kafka.
TO THIS, <<MORE WORDS>> SEEMS BETTER, RIGHT?
This is the moment I bring up a very short letter. Once upon a day, Mr. Hugo —no one you would know but the author of The miserables, Our lady of Paris[3], The legend of centuries; delivered or had delivered some manuscript and as soon as he was told the manuscript was being sold, he went and took out his suitcase[4]. After jumping on it to be able to close it, he went on holiday.
Yet… he was restless about the book selling[5]. So much he couldn’t sleep and decide to write to his editor. Indeed his editor was a really busy person with lots of appointments in his agenda. Thus, Hugo wrote a really short letter:
?
… In a whole blank page with nothing else in it?
Yes.
And the answer?
!
Not always writing a lot is writing better. It is the how good you’re telling tales.
HOW TO WRITE SHORT STORIES THEN?
TO BE CONTINUED
[1] No wonder I didn’t like it. I’m a simple human being.
[2] Thos one I abandoned because I read the prologue. And its author had the great idea of telling me K never reaches the castle. Thus the dense and heavy prose feels like making line in any health bureaucrat’s department to end up being told there are no appointments available. No need to torture myself any longer.
[3] So far I’ve only read that one and Hernani, the one piece Paganini allegedly plagiarized to write Rigoletto.
[4] Spicing things up, I’m not sure it happened exactly like that.
¿Cuáles son los objetivos de los escritores de literatura? Ah…Una de nuestras autoras, Jamaica Kincaid menciona en varias entrevistas su “insistencia de la verdad”, incluso si, y especialmente si, la verdad es dolorosa. Contar las cosas tal cual, despertar, sacarnos los lentes color de rosa y obligarnos a ver y sentir la realidad. No es poco usual que los escritores insistan en decir que presentan verdades en su ficción. Joseph Conrad por ejemplo; dijo: “Mi tarea… es hacerte escuchar, sentir —es, por encima de todo, hacerte ver con el poder de lo escrito”.
An Introduction to Literature. Fiction, Poetry, and Drama. Second Printing. SYLVAN BARNET.Tufts University
Con esa definición, no escribo literatura. Yo escribo ficción. Lo que sea que sucede cuando dejo algo escrito no es una forma de encontrar la verdad. Porque hay una buena porción de mentiras en ello.
Diviértete contando la verdad o inventándola. Pasto kalo.
I’ve come across writing fiction manuals where the author boasts about writing 50,000 words in one go. So effortlessly they end up erasing scenes.
Is it bad to write a lot less than that?! When you think imposition (the way the paper is folded in order to get 4-8-12 pages), maybe. Since there is a fixed numbers of pages to be filled in into a quire. Editors need to think this. At least in case of offset printing. Authors who print digitally have a lot less to worry about imposition.
It doesn’t work for copyrighters who need 40,000 words just to justify their choice of a proposal/topic… Are there really people reading that much marketing proposal when nowadays we try to reduce the time we spend reading for we read a lot?
For me, it is almost impossible to write more. As soon as I try to fulfill the count frustration comes about. I doubt. It feels like something is wrong.
QUANTITY IS NOT THE SAME AS GOOD
And for that a title: The old man and the sea[1]. I don’t know in English but in Spanish, that’s a language a little less populated, this novel is small and thin. No more than 127 pages. Very little for those authors who write that many words only for a chapter.
In this one, superfluous has been eradicated.
Now, War and Peace. The concrete blog that could seriously hurt someone were we to smack someone with it. It is scuffle compared to the 6 tomes (so far since when I wrote this entry there were only 5) of a Song of ice and fire series. Not to say Mr. Martin writes at length.
So why is Hemingway’s novel regarded as important?
SIMPLE
«the trembling sound as flying fish left the water»
The descriptions are kept simple. Do you need more to feel the boat under your behind, the waves, the jumping fish[2]?
TOPIC
The second thing that made it go into immortal hall was the topic. Nonetheless, that’s something for the next entry.
TO BE CONTINUED
[1] Novel I don’t like but since it was mentioned as one of the ones with the best 100 incipits and it really is short compared to the concrete blocks of some writers I took as a model to write about.
