Etiqueta: Sarah Domet

  • And so comedy wasn’t a joke

    COMEDY’S FIRST REQUIREMENT?

    To be nice and fun ? No. To have a big complaint. About anything.

    COMPLAIN

    Is the river dirty? Make the Mork river almost solid enough to never sink in it. Do we dislike the snobish hat? Let’s have it punched out from a head.

    This is Robert McKee’s image of comedy. A frontal disappointed attack AGAINST anything that could be… Better. Anything the frustrated idealist of a writer hates.

    Comedy is there to have us, flex our brains and reflect in front of the mirror of denounce that quickly turns sour as drama and boring or cringey as documentaries (depending the person, remember not everyone likes the same stuff).

    Maybe these frustrated idealists should manage the chaos in their own rooms before criticizing. Maybe. Nuval Yoah Harari says we can believe in contradictory systems of ideas and it is in us to spot the contradictions since every single art work is based upon struggle. I would tell him the struggle is disappearing little by little but that is a different business.

    TENSION RELEASE, CHANGED WORLD

    According to Robert McKee, comedy is the way creators have to try and change the world at the same time the audience releases tension and that’s why critics hate it.

    You can’t positively criticize something that either makes us laugh or not…

    Such affirmation reminds me of a French movie I and my mother started watching in a bus [Serial (bad) weddings]. No further five minutes and the whole bus knew someone was laughing in the front seats… Unfortunately we started it half an hour from reaching destination; thus, I had to look it up later. It was in doing so that I found the most ridiculous critic I’ve read (104 million dollars raised in France).

    The critic suggested that given the fact the three Verneuil (originally Catholic) sisters had married each a Jew, an Arab and a Chinese; why wouldn’t the fourth arrive with a professional well bred Catholic Caucasian… woman?To me, it was pretty obvious. The problem was racism. There’s nothing worst than to derise someone who meets the requirements: male, good looking, Catholic, hard worker ( tough an actor) just because the guy’s skin is different. That and that the sisters plot against the marriage whilst the Verneuil couple falls out for being unable to get their children to do as supposed.

    A lesbian daughter certainly would be uncomfortable but not overwhelming. It can easily be dismissed as a phase by square minded audiences and wouldn’t embody the main problem since the other woman would still be… yes! A Caucasian woman.

    Concluding, comedy can and will be criticized so no, McKee is not quite right about that.

    POINTLESS SCENES?

    Comedies and dramas are different… Because in comedies, social institutions are plastic chicken hit attacked or because comedies are free from narrative rules?

    Let’s say it is because the rules are a bit more relaxed… If we believe what Robert McKee says about the Marx brothers’ movies. I have never watched any ( or I don’t remember watching any). Henceforth, I’ll have to take McKee up for his word, about 88.88% of the 90 minutes of the Marx brothers’ movies being pointless ( mathematics applied).

    Pointless in the sense Sarah Domet says; we shouldn’t bother with any scene which purpose in the story is not clear or fundamental to causality.

    Thus, the Marx brothers must be genial to sustain a movie with that little 11.12% of conventional narrative. Anyways, I think I have an idea about what stands for useless or pointless.

    In Love advice from the Duke of Hell, there’s a scene with a one eyed octopus pouring tea just about the Hell’s gates, unconnected to any other plot’s moment of importance. And it is delicious ( or was at the moment).

    That’s it about comedy for today. Pasto kalo.

  • What to do when a character fucks it up?

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    First, think of some real individuals you’ve come into contact with today (waitress, coat-check girl,car-wash attendant, etc.) and place them each in a scene with one of your characters. How will theseindividuals interact? What might they discuss? You never know when one of these “minor contacts”will have a big impact on a more prominent character. (And if you find one of these minor characters interesting, you may wish to draw up a separate character bio.)

    Sarah Domet. 90 days to your novel. Day 7th

    .

    It happened one day that I wanted to have a boring teacher to explain part of the plot. The jealous minor character jumped out and accused my very important female support, of not knowing a lesson. In a world where not knowing was the same as being heretic… Thus death awaited.

    I was unable to erase her interaction. It was my first time with a character doing what she wanted. No matter my designs. She was being real, vivid and honest. Bollocks!

    Annoying.To erase her was to destroy a more or less good story. I’m no Borges, yet it was at least good enough for an opera prima… One I re wrote 5 times. Hereby, I was there. In need of a knight in shining armour to rescue my character…

    This gave shape to the how I made it to the ending I wanted and had me erase a lot of bad scenes I loved [but equally lacked and were as cheap as making a girl rescue a dog from villager kids stoning it… In the middle of a harsh winter in the opening just so you know she has a very good heart].

    Do treat your minor characters with respect. They’re not upsetting flies. They’re butterfly wings changing what’s going up in the dessert. They deserve you listening to them, your imagination allowing them romping around, doing mischief and dropping one or two H bombs behind. Your work will get better by trying to solve the aftermath.

    Enjoy characters fucking it up. Pasto kalo.

  • About dialogue: She said, he said. p3

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    Here we are again trying to discover the “secrets” of dialogue in writing.

    MIX DIALOGUE, EXPOSITION PARAGRAPHS AND AMBIENT

    Don’t ask. I still have no idea what exposition paragraphs are. Just add some interest by describing. Tell us the colour of the curtains or the burnt on the carpet. Too much dialogue and Domet says it gets boring. I find dialogue pretty much likeable. Again, I haven’t been published and can discreetly utter nonsense.

    USE SHORT PARAGRAPHS OF DIALOGUE

    Do you like speeches? I certainly remember school ‘civic’ ceremonies at 7 morning in winter (freaking cold)  and 9 morning in summer (already hot enough to have one or two faints). All of them a bother. Dialogues are there to have flow not to Clonazepam people.

    IT IS A FIGHT! NOT A SCREAMING CONTEST!

    In fights people do yell at each other. But they will use short phrases and not black Friday lines followed by exclamation marks. Or exclamation marks in a train of sentences…


    I don’t know but in A family’s tale by Christine Nöstlinger, there are parts in which I’ve found three sentences in exclamation marks all packed together in the same paragraph. Although, those weren’t dialogue.


    READ ALOUD ONCE YOU’RE OVER

    The audiobook is for sure to be done and pretty phrases can end up being impossible to be said breathless. Mind it. Domet says it will have you noticing if it is natural or not. I say one needs the experience of talking to other people or listening to others in the bus (when you’re shy).

    EVERY CHARACTER SPEAKS DIFFERENTLY

    This is quite visible (for those who can read Japanese) in manga. Some characters are country bumpkins and speak kanzaiben and others are authentic Tokyoites. Yet… What is one to do when the difference is only in pronunciation? You need to listen to people. Go out and listen! Use spelling mistakes if needed. Ifigenia de la Parra (White mama’s memories), mentioned the possibility of using music paper; given the fact written words are deaf to tune. And they are. You can’t reproduce cadence or pronunciation just by writing it. Even the addition of particular words do nothing unless the reader is aware.


    That’s it. May I get some dialogue through a comment? Pasto kalo.

  • About dialogue: She said, he said. p2

    a young couple talking in the balcony
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    Let’s continue babbling about how to use dialogue and the things I don’t understand.


    DESCRIBE WHAT THE CHARACTERS DO AS THEY TALK


    This technique is used to keep interest and to add subtext and tone.

    It isn’t the same to say:
    Mariana, very angry, said he was an @__35-;!

    To to say:
    Mariana said he was an #44_67 whilst trying to scratch his face.

    Mostly, bad words are enough to show how much of a bother the guy is. Unless we use this:
    Mariana said he was an #4#4, holding the front flaps of his jacket and licking his lips.

    That turns everything into an erotic game. It all belongs to the rule: show, don’t tell in the technical side of things; plus, avoiding the adverbs.


    USE TAGS


    A common place in manga and webtoon are ‘lost’ dialogue balloons associated to no one. They’re upsetting and make reading difficult. So, to avoid your reader getting lost, make dialogue as clean as possible. Andrea Camilleri won’t as much as use identification tags to name the person speaking but, in exchange, he would write dialogues of only two speakers alternatively speaking.

    Unlike what happens in a meeting room filled with people. Here, we need the tags and those have to be as invisible as spider cobs are to flies. Reason why not to say: ‘her voice fell like a leaf on the woods’ and that’s the second convention I’ve broken. And I remind you, I never been published and I just write nonsense.

    TO BE CONTINUED

  • About dialogue: She said, he said. p1

    SHORT STORY

    — We’re stuck here— he said, turning off the car.
    — Without signal to call a toll, to top — she said, popping the pink gum bubble. A far thunder pointed out the rain would go on.

    UNIMPORTANT INTRODUCTION

    In English it isn’t as important to mark the she said, he said; though I wonder how sometimes people can’t get lost in dialogues the way I do.
    Were this Spanish I would be making the conjugation joke before telling you this is an entry about dialogue from the 90 days on how to write your novel by Sarah Domet. Peppered with digestive enzymes and in the order I deemed important.

    START WITH A DESCRIPTION OF PEOPLE TALKING instead of starting with a dialogue.

    Auch. I’ve done exactly so. Sometimes, we visual people, and by visual I mean those who can or have the ability to use the eyes to perceive; we forget about the rest of the senses. We want everything there’s to be seen and we want it now. In spite of the advice for using phrase as: «she could lift the suitcase without a care it was heavy» to mark someone as strong or sturdy; most writers simply go for the description. Particularly those whose audiences depend heavily on covers and TV live adaptations.

    Anyways, Sarah Domet says ‘avoid’, which means it is a general advice, not a strong rule. And rules are to be broken… Once you know how things work. Nonetheless, I think we can make use of our other senses as well to feel the jagged and irregular metal of a statue welded all over and exposed to the rain. It is possible to write audio books targeted to blind people. Books that might end being listened to by me too since I like listening to stories while I sew.

    TO BE CONTINUED

  • How to create a character’s ID profile when writing?

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    SOLID BACKGROUND

    There’s this person. They are close to you and no. Do not say their name aloud. They’re in trouble with the mafia and our mission is to create a solid witness protection identity. Yes. I know. This is only an exercise.

    Yet… If you play this game poorly, the person might end cement shoed and very deep sea sank. So let’s do it since this exercise is from 90 days to your novel by Sarah Domet.

    Go get that lock drawer kept story or notebook. I’ll wait even if you need a shovel to dig it out from the garden. Just don’t come in with mud in your shoes.

    PROFILING

    Name: blank? It has to be sticky and memorable as Ajab, Katniss, Bridget…or Caleb. Maybe Harry or Johannes [Cabal]. Tough in my opinion, Ajab is as sticky as water. I remember it only because it is repeated over and over again in literary analysis. What do you think about Shalique Shan’ou [does that last name even exist?]

    Age: at the time of the magical training she is 30 something.

    Career: magical supplements door to door sales woman.

    Family: father, mother, brother, a dead   baby sister. Reinhardt as the colleague less than a husband, more than a friend, pet?

    Personality traits: and this is a question I don’t get at all. Do I have to take an IMJ or whatever test? She can’t stand bullies, she loves eating but can’t over eat cause she has reflux and she keeps her mother’s last gift in a drawer.

    Where is she from? Lebelian, invented city in an invented world. She lived there until she was 10 y.o. and the bombing destroyed her house, her baby sister and had them living in a camp until they could leave. Her brother Agnan acquired his cockroach phobie in there. They escaped when her father became a fisher in a fish boat rescuing drugs in international waters.

    Education: high school. Witches do mentorship programmes in a social service model.

    Physical description: she is average and slim, her nose a little curved down. The black hair about to be straight but it never really decides on it so she has to braid it to avoid the frizz. Strong hands and short nails, she can’t have her nails long. At the beginning she is regretting her decision of cutting her long hair.

    Motivation: to find the book collector to prove the Chantrelles are doing illegal stuff.

    Deepest fear: to loose from sight justice and it’s effect on other people’s lives through revenge without taking into account the person’s background.

    She likes: her socks in order, chicken, country side mice, a turquoise wool coat, reading horoscopes, Madonna.

    Things she hates: murder series like CSI or Wallander. The old oil smell, canned sardines, dog poop in the sidewalk and bullies.

    Where does she live? Communal community centre in Reign city, assorted places with Reinhardt.

    Favourite music: reggaeton in Spanish, Arab pop, K-pop and Madonna.
    What does she like about herself: her big dark eyes of long lashes and her justice sense.

    Favourite childhood memory: her meeting with Ravina and Ziggy.

    What’s her most traumatic life event: to talk to her own «corpse».

    Most prized possession: herself.

    Transportation: subway and train or bus.

    Favourite food: bell peppers and meat.

    What’s the most attractive thing about her personality? She is not very quick so she likes straightforwardness. That’s why Ravina’s subtle way to beat the bush is the thing she hate the most about her friend.

    What’s her voice like? A nice low feminine tone

    Her description in five words by other people: friendly, stubborn, just, a bad cooker and decisive.

    Favourite ice cream: coffee.

    Pizza: definitely without pineapple.

    Up to here I’ve been trying to pop a character up from an exercise proposed by Sarah Domet. Obviously, you can create your own questions. Some people are interested in the cleaning habits, sexual behaviour… Etc. Some have enough personality to be a blank if the boyfriend ditches them.
    Have the best of times creating your character. Pasto kalo.

  • Why to show ONLY the tip of the iceberg when writing?

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    CHARACTERS DRIVE THE PLOT

    In the line of sharing the same idea about writing, Sarah Domet (90 days to your novel) and Chuck Wending think the characters are the makers of the plot and its primary source. The smartphone’s Android (or whatever the name your smartphone system has[1]).

    A well defined character will jump out from page and do unexpected. Memorable things.

    <<Style and tone and voice reflect your character’s intellect, personality, and mood. Even setting is determined in large part by your character. Where does he or she choose to live? What do her home and surroundings say about her? Does her bedroom have black lights and psychedelic posters or ornately framed original artwork and a bowl of cinnamon potpourri? These decisions are reflective of character, too>>

    Sarah Domet, Day 3 in 90 days to your novel.

    WHO DISAGREES?

    As usual, there’s the one who might not agree with the idea. Patricia Higsmith [last entry about Mermaids in the Sahara], would advice us adding disparity to make our plot more complex and exotic (this last one word, exotic, is my own way to make it sound like the Caribbean instead of a holiday toasting yourself in your own roof).

    In Domet’s point of view, it is personality which has them living and going, choosing and reacting to situations and in Highsmith’s; it is the environment which forces them ladies to scream, to semi quote something Martk Twain supposedly said and only semi quote since I’m more interested in quoting Hemingway (though I’m not a fan of him):

    “If a writer of prose knows enough about what he is writing about he may omit things that he knows, and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of the iceberg is due to only one-eighth of it being above water. The writer who omits things because he does not know them only makes hollow places in his writing.”

    Ernest Hemingway

    That’s interesting but never absolute. Some stories never tell themselves completely to us. They like to keep the mystery or we might strip them out of it in our inexperience. And stories, they choose their writer the same way cats choose.

    TO BE CONTINUED

    [1] …. I know Android has different versions and I know that smartphone in particular has its own controller but sincerely speaking, that smartphone is a serious case of over narrative. Narrative moves the world. But it also should be limited by something and that something starts with my negative to paint it as the wonder. It is, yes, a great smartphone but not the only great one. I respect much more Chinese brands doing their thing for a lot less money. And yes, they’re the menace of the market but who can blame them? They were forced to buy opium… Are we being forced to buy anything?

  • 2nd of the 90 days to own your own world… I mean novel

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    Accordingly to Sarah Domet —90 days to your novel— and I’m quoting:



    «Every writer aims to immerse the reader so deeply into the story, to so hypnotize the reader with the details and the writing, that she continues turning the pages. You want your reader to feel like she’s literally present in your fictional world, running right alongside your characters as they get swept up in the action of the story. This is, after all, one of the reasons people read: to lose themselves in a world more interesting than their own.»

    DO YOU WANT THE SAME?

    Your reader running along your characters in your own fictional world [ or maybe write an extension of Star Wars, …………….. (fill in over the dotted line)]. Then, let’s play to wrap up readers into details that might not matter to the most common mortal (until they read a novel; a lot of people miss out seeing, listening to, tasting and smelling much of their conscious time[1]) but connects us —all of us— emotionally.

    Do you have a fav Tee you won’t trash away despite the small holes and obvious wear cause it is the only one that covers your hips at the right height? Would you remember this kind of character or would you forget them? Would you prefer the girl with a box filled with every jewellery brand’s engagement rings[2]?  
    Would you really hate the vanilla smelling cappuccino lover villain? It’s harder hating these kind of bad guys. Do you remember the softness of a Teddy bear? Dressing a Barbie up?

    GO AND USE

    Your nose: go and smell the roses, the intoxicating and indescribable scratch presentation card of the skunk, the nauseating urea smell at the tail of any perfume or aftershave[3].

    Your eyes: time to learn more than the primary colours. Mmmm. You can’t use your eyes? You already know you have adjectives the rest of us can’t even dream with understanding. The same way, being asexual is a joke to most people. Nonetheless I exist.

    Your tongue: besides salty… Can you taste any other flavours? Yeah, blood ain’t just sweet. It has a metallic flavour and smell of its own!

    Fingers, skin: what’s the desk’s surface like? Rough, smooth as a lake or hard and heavy? My drawing table is smooth until you find the scratching of cutter or soil grains.
    Your imagination: don’t look. I repeat, don’t look at the purple tentacle climbing your shoulder and don’t, for whatever’s sake, turn around.

    Go and have fun with your own nonsense. Pasto kalo.

    [1] I’m one of them.

    [2] Right, dreaming we own all those pretty bling bling stones…

    [3] … What can I say, I don’t smell parfums or fragrances as an uniform whole. I don’t recognize EVERY ingredient but the smells come separately and the fixer is always the last one, in the background.

  • How to write fiction in a nutcasing clasification of the scene (in two stone throws)

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    FIRST STONE OR FIRST PART

    Stubbornly (and only since I didn’t really get it and I’m particularly talented at being bigheaded), is it that I’ll try to explain a really basic classification of narrative scenes. According to Sarah Domet in “90 days to your novel”.

    Narrative scenes internal and external

    Were this to have any more clasification, then I’d have to sit down to read from Wednesday and write on Fridays. However, there are only two.

                   The things that happen in our head or internal scenes, are exactly that. The existence’s quarrel; among those of sound mind surrounded by all the ones wanting to pretend to be responsible: the how much I hate the neighbour’s drapes; the lovely behind of the guy in the gas station.

                   He casual meeting or the external scene. Yep. Encounters between our dear character and the rest of the population inhabiting our fantasy world, that require more action than hating some cloth or just admiring an anatomy model. If the character goes to the gym, they talk to their coach. Greets the receptionist at the dentist (whilst trembling inside). Buys the bread looking at the sugar bread loaves of the cashier. Smiles to the cute doggy they cross with, in the street. Interaction with the outside and if not there (according to Domet) can turn our world into a bore.

    In her opinion[1], good stories are populated of these casual meetings in different shapes and arrangements… Butm if I remember it well, Teresa (from The unbearable lightness of the being) doesn’t have much interaction to be mentioned, with other characters. Much less the girl in The North China Lover. Of course, these stories are part of the LITERATURE in ways Agatha Christie doesn’t.  That… that takes us to Miss Marple. Miss Marple is always remembering what he or she said and talks pretty much to eveeeeerybody. And maybe such is the charm of these kind of stories. Not many people refrain themselves from solving a Christie’s puzzle.

    And if what you need is a more modern example, Yumi’s cells by Donggeon Lee, is a lovely webtoon where to see this internal/external or zoom in/zoom out scene game. The thoughts of the main character, Yumi; are displayed on stage by the cell of love, hunger, emotional, good manners, history, naughty (the pervert one).

    Everything coming through her head is an interaction game between these tiny characters. So, at least for the case, the external scenes show Yumi as an entity who displays what happens outside, either on her own or with other characters.

    Taking into account, Ronald B. Tobias (the one of the “20 master plots”) likes explaining plots by using movies as examples  —besides books— (take little to SEE what the heck he is talking about), I think comics are a very good source of knowledge. It is between movies, where you see what’s coming on and it is almost impossible to narrate telling, and the novel; where there is a bunch of text and you can only trust the words. 

    Complicate?

    The example makes it a little more palatable, doesn’t it?

    Like, subscribe, leave a comment instead having an internal scene where you like this nonsense and… be happy.

    [1] She uses Charles Dickens as an example since he wrote lots of characters, “some fairly

    insignificant, but fun to meet.”  Any Dickens expert out there? I only read Christmas Carol and didn’t like much of it… so I barely remember it.

  • Cómo escribir ficción con ayudantes y oponentes

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    «Las dos categorías comentadas hasta ahora se encuentran directamente vinculadas al objeto, que lo es tanto de deseo como de comunicación. Ambas relaciones son necesarias para el desarrollo de la fábula. Pero una fábula que se basara sólo en estas dos relaciones acabaría muy pronto: el sujeto quiere algo, y lo logra o no. Normalmente el proceso no es tan sencillo.»

    Mieke Bal. Teoría de la narrativa, introducción a la narratología.

    Vaya, vaya. Alguien que revisa textos usando la gramática como medida, se acaba de dar cuenta que hace falta algo más que el deseo del personaje. Aparte de eso, comienzan a aparecer los Totos, Mushues[1] y demás aliados por el camino. Una tercera relación entre los sujetos de la fábula. Y yo sigo pensando que la fábula es dónde sale el zorro y la liebre…

    En fin, que gramaticalmente; los actantes (una clase de actores con una relación idéntica en el aspecto de intención teleológico[2]) son complementos adverbiales de la oración… Mocos. ¿¡Tú sabes que es un complemento adverbial?!

    ¿Ni idea? Bueno, en eso estamos juntos. Lo googlearé por ti.

    COMPLEMENTO DEL ADVERBIO

    Complemento del adverbio es el sintagma preposicional cuya función es completar informativamente el significado que reclama un adverbio que funciona como núcleo de un sintagma adverbial[3]….

    OK. Eso fue como intentar mirar una araña destripada como una araña. Tal vez lo único que nos dice que es una araña son las patitas del ejemplo: Lejos de casa. Pero… esto todavía no es la araña del subtítulo. Veamos este otro:



    Los complementos adverbiales pueden ser distintos tipos de adverbios, aunque son más frecuentes los adverbios de tiempo (ayer, ahora) y de lugar (allí, aquí) en forma aclaratoria. Menos frecuentes serán en los adjetivos que tienen una significación completa por sí mismos, como los de afirmación (sí), negación (no, ni) o de duda[4].

    Supongo que esa fue una experiencia mucho mejor en nuestro papel taxidermista. Así que, de acuerdo. Los ayudantes y oponentes son los complementos adverbiales de una oración y se relacionan con el objeto a través de preposiciones. ¿Y? ¿No son lo mismo que los personajes dador y receptor de la entrada anterior?

    DIFERENCIAS ENTRE DADORES Y AYUDANTES

    No. No son iguales. Para empezar, el dador es por lo regular sólo uno (por lo regular las encarnaciones no toman múltiples cuerpos) ; mientras que hay muchos ayudantes. Estos muchos ayudantes, por ser muchos, prestan ayuda de una forma parcial. A diferencia de los dadores, que poseen control sobre casi todo (no diré todo como Mieke, porque no controlan el “libre albedrío”). Pueden abandonar el decorado y entrar en escena para robársela momentáneamente al personaje/actor principal y por lo mismo; tienen un o muchos momentos de narración para ellos solos.

    Es decir, que en realidad esto del ayudante y el oponente son los múltiples personajes de los que llenada Dickens sus novelas[5] y son los personajes que suelen gustarnos un montón; como los villanos y los patiños. 

    Aunque no siempre se trata de personajes. Pueden ser simples características del personaje o circunstancias circunstanciales… Cuando uno confían en análisis gramáticales  para encontrar las fuerzas que habitan una historia, lo más probable es que termine con algo cierto pero también muy extraño.

    ¿Recuerdas a Virginia? Bueno, el duque de Ormuz visita a la señorita Rosina porque Rosina es su media hermana ilegítima[6]. Se llevaban muy bien cuando niños pero, al morir el padre; la madre del duque la expulsa de la casa celosa. El duque no puede decirle nada a Virginia porque Rosina sería víctima del ataque de la duquesa viuda, siempre alerta para deshacerse de ella.

    Esto llevado al análisis gramatical nos dice que un oponente no personajeado (que no es un personaje) del duque de Ormuz es su propio silencio. Mientras que la madre del duque es un personaje oponente porque sí es personaje y, al oponerse a Rosina, se interpone entre el duque y Virginia.

    Y como consecuencia, esta subdivisión de actores, nos puede ayudar a tomar en cuenta todos los pros del personaje a favor de que obtenga su deseo (incluyendo a los personajes que ayudarán en pequeñas dosis) y los contras de que lo logre a través de su comportamiento.

    ¿Cómo usar esta subdivisión de actores en el texto narrativo? (o cualquier narración en general)

    Vamos a usarla como una planeación de ruta de qué circunstancias motivan los desastres que le acontecen al personaje debido a su personalidad o propiedades (qué en sí del personaje, lo mete en un lío). Y a quién vamos a plantar ahí, en la ruta, como guía de turistas que le dé indicaciones al personaje de cómo llegar a donde quiere ir (obtener el objeto de su deseo)

    El mapa de ruta que voy a mostrarte hoy con esta entrada; incluye darle like (si estás leyendo en Facebook puedes dar like en Facebook), suscribirte (si todavía no lo has hecho) y comentar. Tal vez no sea mucho, pero eso me ayuda un montón a no pensar en la inutilidad de escribir estas chorradas. ¿Me ayudas?

    [1] Toto en El mago de Oz y Mushu en Mulan.

    [2] Atribución de una finalidad u objetivo a procesos concretos.

    [3] Wikipedia

    [4] «Complemento Adverbial». Autor: Equipo editorial, Etecé. De: Argentina. Para: Concepto.de. Disponible en: https://www.ejemplos.co/12-ejemplos-de-complemento-adverbial/. Última edición: 31 de agosto de 2022. Consultado: 13 de septiembre de 2022

    [5] Según Sarah Domet en 90 days to your novel. Se solicita experta/o en Dickens.

    [6] Gracias Guerra de las Galaxias (aunque ahí no son medios hermanos)