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Why to watch out with words!
Maybe you think words are not something to be wary of. Watch out! The traitors. Sometimes the complaint is hidden among them. They can be a quick peek into the horrible inner world of the character. And they’re easily misunderstood. Pick them with care. Or let them ooze without regard. As unworthy as they seem, they can change a character’s world. In consequence, be wary of words and in awe too. Pasto kalo.
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Meeeown
Meow,Meow,The meoown.Straightly round.A fluffy shiny one.Bright up there,Waiting to be pet.Doing their best,To house keep your rest.Against the black spider,Hidden in the closet.Against nightmare.Warming your feet,Giving you cramps,Hunching your back.Love ain't easy, is it?It never was,Since it takes two minds.
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Gold and blue
Naked and oblivious,They go above my worries.Impressive and thunderous,They go beyond my loneliness.Bathed in light,Surmounted by divine.Not the one of order,The one of a moment.It's a matter of regard,Time and sight towards the sky.
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The imminent danger of metaphor p3
As a writer you need command of the language. Not to make of it something beautiful [additional problem]. To persuade. To enchant. To create metaphors. To listen and be able to pick up the metaphors that could work in most places.
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How to turn causal into casual in fiction?
To turn causal into casual is like having a mouse at home. You haven't seen the damn rodent at all but you know it is there. How? Mice leave behind little round thingies. They also leave nibbled cables/fabric/plastic, scraps of food and fiber balls behind them. None of the causal “facts” of our tale will be holding an "Acme bomb" tag. You won't see the mouse. You will see what's left behind. Anything to hide the way dots connect has to be concealed by distraction.
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How difficult is it to write fiction?
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What’s adaptation?
In these lectures I’ve argued that fiction, if well written, doesn’t betray history, but opens up its essential nature to inspection. When fiction is turned into theatre, or into a film or TV, the same applies: there is no necessary treason. Each way of telling, each medium for telling, draws a different potential from the original. Adaptation, done well, is not a secondary process, a set of grudging compromises - but an act of creation in itself.
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Why do we like black horse plots? p. 2
Us in a clear disadvantage. The Slumdog millionaire smeared in excrement. In a worse place than us. Yet us, some minute of our lives
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Why do we like black horse plots? p. 1
Ronald B. Tobias. 20 Master plots.
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Get ready to write fiction 2
Start with known stuff: anything that comes as known and takes part in the contents of our safe box of a skull is what you know and should write about.
