Don't Believe In Competition, It Creates Insecurities. You Are What You Are! A Point From Zain Asher

En los talleres se trabajan las esculturas, se dan bosquejos, a veces riman otros no, a pulir de nuevo, a sacar ideas desde otras perspectivas, y asi son los talleres. Lugares donde se trabajan ideas. Y a reemplazar, reeditar y asi. Darles nuevas luces al trabajo y asi, la idea es ciertamente empezar a escuchar el mercado por donde las ideas y los trends van, para tener un producto ajustado a una necesidad, y donde las ideas personales se ajustan, y complementan con los demás, para tener un producto que llame la atención.

Reeditar es importante , sobre todo cuando no se le quiere poner mucha mermelada a un sandwich, que después desparrame todos sus elementos y se están engolosinados, echando a perder la obra. La obra debe tener un equilibrio en sus plots, en sus caracteres, en sus world views para hacer un edificio elegante que guste su presencia por lo que ofrece. 

Los amores en los plots no hacen nada, a menos que no estén rodeados de una historia convincente, que mueva los caracteres hacia un propósito central concentrado y desparramado en toda la obra.

EL PUBLICO

Otras cosas a considerar es que la obra, o el publico al cual se dirige la obra es a las parejas de recién casados, jóvenes que fluctúan entre los 16 a los 24 anos, (representan el mayor segmento de matrimonios) con sus castillos de ilusiones, y cuando sus percepciones todavía no llegan a la madurez de parejas entre los 40 y 50 (cuyas pasiones, e intereses y emociones y situaciones variarían diametralmente). Esta obra esta dirigida a D’Bodas & XV Anos, en sus contenidos (por ahora) y sus publicaciones están enmarcadas dentro del espacio de D’Bodas & XV Anos para su distribución y venta por capítulos. La dinámica de valores, conceptos, situaciones para recién casados difiere de los adultos, por lo que los temas también difieren. Creo que la idea es darles a los recién casados ideas de mas o menos lo que pasa en las relaciones, pintarlas, y darles más o menos como una oleada de situaciones -entre aventuras- que se presentan en pareja. Me pregunto en voz abierta, si pudiera traspasar esas fronteras de edad y dejar una obra que pudiera meterse en todo publico, pero siento que perdería el propósito de una obra, porque toda obra debe tener un propósito dado que se invierte mucho tiempo y esfuerzo en su conjugación para perderlos sin un sentido y un propósito, y finalmente si vamos a ser algo, que finalmente sea de valor.

Still working in my shop. Getting ideas.

How can we develop a plot, mixing real young couple dynamics, into the story. That would be the greatest asset!

VALENTINE SCHLEGEL & IRIS MURDOCH

El arte dice la única verdad que en definitiva importa. Es la luz por la cual las cosas humanas pueden ser enmendadas. Y más allá del arte no hay, se lo aseguro a ustedes, nada.

-Iris Murdoch, El príncipe negro. Ed: DEBOLSILLO. Traducción  de Camilla Batlles Vinn.

- Valentine Schlegel, Primera escultura de yeso, taller de Sète, 1955.

character movements for anxiety

1. Pacing: The character walks back and forth in a small area, unable to stay still due to restlessness and nervous energy.

2. Fidgeting: The character repeatedly adjusts their clothing, taps their fingers, or plays with objects, unable to keep their hands still.

3. Nail-biting: The character nervously bites their nails, a common habit that indicates anxiety or nervousness.

4. Rapid breathing: The character's breaths become quick and shallow, as if they're struggling to catch their breath due to heightened anxiety.

5. Clenching fists: The character tightly clenches their hands into fists, a physical manifestation of their inner tension and anxiety.

6. Avoiding eye contact: The character averts their gaze, unable to maintain eye contact due to feelings of unease or insecurity.

7. Shaking or trembling: The character's body shakes or trembles involuntarily, reflecting the physical manifestation of their anxiety.

8. Wrapping arms around oneself: The character crosses their arms tightly over their chest, as if seeking comfort or a sense of protection from their anxious thoughts.

9. Picking at skin or lips: The character absentmindedly picks at their skin or lips, a subconscious action resulting from nervousness or anxiety.

10. Swallowing hard: The character visibly swallows, indicating a dry throat and heightened anxiety.

Continuando con las bellas acústicas de un programa

When human beings encounter the true meaning of life and purpose, there are no doubts. Soul and body are compromising together to give the best in a beautiful way

can you give tips on how to change up character dialogue? all of my characters end up sounding the same and i'm not sure how to fix it

How to Write Unique Voices for Characters in Fiction

When it comes to writing fiction, creating unique and believable characters is absolutely essential. One important aspect of character development is crafting unique voices that reflect each character’s personality and background.

Understand your characters

Before you can write distinct voices for your characters, it’s important to understand who they are. Building out a solid foundation and developing compelling backstories is one of the best ways to ensure they always have unique voices. Here are some tips for getting to know your characters:

Write character sketches that detail their backgrounds, personalities, goals, and motivations.

Conduct interviews with your characters as if they were real people, asking them about their likes and dislikes, fears, goals, and more (the Proust questionnaire is a popular way to do this).

Imagine how your characters’ past experiences will change how they speak in different situations and when experiencing varied emotions.

Use description to enhance your characters’ voices

Descriptions can be just as important as dialogue when it comes to creating character voices. Here are some tips for using descriptions to enhance your characters’ personalities:

Use specific details to create vivid descriptions of each character’s body language, mannerisms, and behaviour.

Consider how each character’s mannerisms might influence their speech patterns. For example, a character who is shy might be hesitant to speak or repeat themselves frequently.

Pay attention to how your characters interact with their environment. Do they use their hands a lot when they speak? Do they pace around the room or sit still?

Use sensory details to create immersion. For example, a character who is nervous might sweat profusely or fidget with their jewellery.

Avoid stereotypes and clichés

When writing unique voices for characters, it’s important to avoid falling back on stereotypes or clichés. Here are some tips for creating characters that feel fresh and authentic:

Avoid using dialects or accents. Not only do these often rely on stereotypes, but they also break reader immersion unless authenticity is absolutely essential to the type of book you are writing.

Consider how each character’s background and experiences might influence their beliefs and values. One-dimensional characters built on clichés won’t have unique voices.

Think outside of the box when it comes to creating distinct voices. Instead of relying on traditional archetypes, consider combining traits from multiple sources to create something new.

How to craft unique dialogue

With the basics in place, how do we convert unique character voices into dialogue? Here are some tips for writing dialogue that feels authentic and unique to each character:

Read your dialogue out loud to hear how it sounds, and make sure it’s true to how you imagine your character to be.

Give your characters a unique conversational quirk that feels natural. An example could be that they call everyone “love.”

Vary the length and complexity of sentences to reflect each character’s personality and background.

Consider how each character’s education and experiences might influence their vocabulary and sentence structure.

Use dialogue tags sparingly to avoid detracting from the actual words being spoken.

Avoid using too much exposition or explaining too much in dialogue. Instead, let the characters speak when it serves your story.

By understanding your characters, crafting unique dialogue, using descriptions to enhance character voices, and avoiding stereotypes and clichés, you can create vibrant, engaging characters that will keep readers hooked from start to finish.

DESCRIBING THE PHYSICAL ATTRIBUTES OF CHARACTERS:

Body

descriptors; ample, athletic, barrel-chested, beefy, blocky, bony, brawny, buff, burly, chubby, chiseled, coltish, curvy, fat, fit, herculean, hulking, lanky, lean, long, long-legged, lush, medium build, muscular, narrow, overweight, plump, pot-bellied, pudgy, round, skeletal, skinny, slender, slim, stocky, strong, stout, strong, taut, toned, wide.

Eyebrows

descriptors; bushy, dark, faint, furry, long, plucked, raised, seductive, shaved, short, sleek, sparse, thin, unruly.

shape; arched, diagonal, peaked, round, s-shaped, straight.

Ears

shape; attached lobe, broad lobe, narrow, pointed, round, square, sticking-out.

Eyes

colour; albino, blue (azure, baby blue, caribbean blue, cobalt, ice blue, light blue, midnight, ocean blue, sky blue, steel blue, storm blue,) brown (amber, dark brown, chestnut, chocolate, ebony, gold, hazel, honey, light brown, mocha, pale gold, sable, sepia, teakwood, topaz, whiskey,) gray (concrete gray, marble, misty gray, raincloud, satin gray, smoky, sterling, sugar gray), green (aquamarine, emerald, evergreen, forest green, jade green, leaf green, olive, moss green, sea green, teal, vale).

descriptors; bedroom, bright, cat-like, dull, glittering, red-rimmed, sharp, small, squinty, sunken, sparkling, teary.

positioning/shape; almond, close-set, cross, deep-set, downturned, heavy-lidded, hooded, monolid, round, slanted, upturned, wide-set.

Face

descriptors; angular, cat-like, hallow, sculpted, sharp, wolfish.

shape; chubby, diamond, heart-shaped, long, narrow, oblong, oval, rectangle, round, square, thin, triangle.

Facial Hair

beard; chin curtain, classic, circle, ducktail, dutch, french fork, garibaldi, goatee, hipster, neckbeard, old dutch, spade, stubble, verdi, winter.

clean-shaven

moustache; anchor, brush, english, fu manchu, handlebar, hooked, horseshoe, imperial, lampshade, mistletoe, pencil, toothbrush, walrus.

sideburns; chin strap, mutton chops.

Hair

colour; blonde (ash blonde, golden blonde, beige, honey, platinum blonde, reddish blonde, strawberry-blonde, sunflower blonde,) brown (amber, butterscotch, caramel, champagne, cool brown, golden brown, chocolate, cinnamon, mahogany,) red (apricot, auburn, copper, ginger, titain-haired,), black (expresso, inky-black, jet black, raven, soft black) grey (charcoal gray, salt-and-pepper, silver, steel gray,), white (bleached, snow-white).

descriptors; bedhead, dull, dry, fine, full, layered, limp, messy, neat, oily, shaggy, shinny, slick, smooth, spiky, tangled, thick, thin, thinning, tousled, wispy, wild, windblown.

length; ankle length, bald, buzzed, collar length, ear length, floor length, hip length, mid-back length, neck length, shaved, shoulder length, waist length.

type; beach waves, bushy, curly, frizzy, natural, permed, puffy, ringlets, spiral, straight, thick, thin, wavy.

Hands; calloused, clammy, delicate, elegant, large, plump, rough, small, smooth, square, sturdy, strong.

Fingernails; acrylic, bitten, chipped, curved, claw-like, dirty, fake, grimy, long, manicured, painted, peeling, pointed, ragged, short, uneven.

Fingers; arthritic, cold, elegant, fat, greasy, knobby, slender, stubby.

Lips/Mouth

colour (lipstick); brown (caramel, coffee, nude, nutmeg,) pink (deep rose, fuchsia, magenta, pale peach, raspberry, rose, ) purple (black cherry, plum, violet, wine,) red (deep red, ruby.)

descriptors; chapped, cracked, dry, full, glossy, lush, narrow, pierced, scabby, small, soft, split, swollen, thin, uneven, wide, wrinkled.

shape; bottom-heavy, bow-turned, cupid’s bow, downturned, oval, pouty, rosebud, sharp, top-heavy.

Nose

descriptors; broad, broken, crooked, dainty, droopy, hooked, long, narrow, pointed, raised, round, short, strong, stubby, thin, turned-up, wide.

shape; button, flared, grecian, hawk, roman.

Skin

descriptors; blemished, bruised, chalky, clear, dewy, dimpled, dirty, dry, flaky, flawless, freckled, glowing, hairy, itchy, lined, oily, pimply, rashy, rough, sagging, satiny, scarred, scratched, smooth, splotchy, spotted, tattooed, uneven, wrinkly.

complexion; black, bronzed, brown, dark, fair, ivory, light, medium, olive, pale, peach, porcelain, rosy, tan, white.

Storytelling Challenge: Character Motivation

“Every character should want something, even if it is only a glass of water,” Kurt Vonnegut said in his Eight Basics of Creative Writing.

A lot goes into developing relatable characters. You have to figure out how they look and behave. You have to have a sense of their back story. But perhaps the most important thing that ties all the character development together is why. Why do they do what they do? What motivates them?

Just like real people, your characters will be motivated by different things. For the story you’re telling, choose one thing to focus on.

You likely won’t mention it outright, but the motivation you pick will be driving your character’s actions and decisions throughout the story.

Developing Characters Through Motivation

When your characters aren’t fully developed yet, giving them something to strive for is a fantastic way to begin developing them.

How would they go about achieving that goal? What risks would they take? And why do they want what they want in the first place?

You can easily start a story by taking a character, giving them a goal and watching them trying to reach it. Of course, the problem is that there will be obstacles along the way.

Take the example from the beginning of the post: a character that wants a glass of water. That should be simple enough, shouldn’t it?

They go to the kitchen and take a glass from the cupboard over the sink. The tap sputters when turned on, and no water comes out. Weird.

The character goes to check the stopcock, the water is on. Did they forget to pay the bill? Perhaps there was an incident down the road, and emergency works are going on.

From here, the story can go anywhere from Jason Bourne-style spy thriller to a silly dispute with a neighbour-style comedy. All we started with was a character wanting a glass of water.

The Challenge

Join us this week and spend an hour or more writing a story where the protagonist wants something. Pick a goal or some kind of motivation and use it to develop the character as you work on the story.

If other characters will be working against the protagonist, what motivates them? Why do they stand in the way of the protagonist’s achieving their goal?

Here are a few examples of character motivation:

security — the character’s security is being threatened

success/recognition — the character working hard to achieve something

acceptance — the character wants to fit in

love/friendship — the character is looking for new friends or a partner

Join the challenge

Me importa poco lo que piensen los demás, yo no salgo a impresionar a nadie.

Blakbirdz. (via meimportauna-wea)