The strength of the characters
Dec 5, 2023 4:11:24 GMT
Post by account_disabled on Dec 5, 2023 4:11:24 GMT
But that's another point, don't you think? The point is: how much do you sympathize with those characters? I abandoned reading Bonelli's comic Julia because I have ideas opposite to those of the character. You want to understand criminals, I want to eliminate them. I also remember the film A Clockwork Orange , or rather I remember the first 20 minutes of it, which I then gave up on. Why? Because I hated the protagonist. I just wanted to kill him. Find myself in the place of those unfortunates and give them a beating.
It's not that Lester Ballard from McCarthy's Son of God should be rewarded, on the contrary. We are there. But, I don't know why, I was on his side. The sound of dialogue The dialogues are the music of the Phone Number Datanovel. If you think about it, they are the only part of the book where we can “hear” the story. The rest is silence. I used to hate them, now I love writing them. I also have a little drama in mind, which I will write sooner or later. Sounds. Voices. Music. The dialogue is heard by the reader. It is here that the writer must put more strength into his narrative urgency. Absorb the reader The work of the first eight pages must be continued for all the following ones.
Don't capture the reader's attention, but absorb them into the story and writing. Without letting him catch his breath.took Giulio a few seconds to realize that the other was leaving.And with the ambulance also the police or the Carabinieri. Emi Mimmo ordering the two children to go out, Nico coming back inside but unable to see them, despite feeling their presence, Laszlo railing against Mimmo and the butt of the gun hitting his head, the anger of Mimmo Mancone, finally, who he ordered his friend to burn the hideout. The screams that Emi heard – they were screams, I heard them, it was her, it was the little girl screaming from the depths of desperation – destroyed the last defenses of her conscience and she fainted.Over to you on frameworks
It's not that Lester Ballard from McCarthy's Son of God should be rewarded, on the contrary. We are there. But, I don't know why, I was on his side. The sound of dialogue The dialogues are the music of the Phone Number Datanovel. If you think about it, they are the only part of the book where we can “hear” the story. The rest is silence. I used to hate them, now I love writing them. I also have a little drama in mind, which I will write sooner or later. Sounds. Voices. Music. The dialogue is heard by the reader. It is here that the writer must put more strength into his narrative urgency. Absorb the reader The work of the first eight pages must be continued for all the following ones.
Don't capture the reader's attention, but absorb them into the story and writing. Without letting him catch his breath.took Giulio a few seconds to realize that the other was leaving.And with the ambulance also the police or the Carabinieri. Emi Mimmo ordering the two children to go out, Nico coming back inside but unable to see them, despite feeling their presence, Laszlo railing against Mimmo and the butt of the gun hitting his head, the anger of Mimmo Mancone, finally, who he ordered his friend to burn the hideout. The screams that Emi heard – they were screams, I heard them, it was her, it was the little girl screaming from the depths of desperation – destroyed the last defenses of her conscience and she fainted.Over to you on frameworks