No Dije?

La Pregunta Existencial

-      Que usted piensa… Existo o no existo?

-      Por que la pregunta?

-      BUENO, SI PIENSO, LUEGO EXISTO, VERDAD? Siendo Descartes; es decir, no tengo que tener un atributo que otros me otorgan para existir. No va de acuerdo?

-      No entiendo!

-      Si!, a lo que me refiero es que mi existencia no esta condicionada a lo que usted pueda pensar de mi, porque aunque pensara de mi, de manera diferente, y digamos que pudiera en algun momento ocultarme tras bambalinas, aun con ello, yo existo!

Me sigue?

-      Correcto!

-      Entonces la existencia no esta condicionada a otros, sino la existencia viene de la presencia, de ser o no ser, esa es la cuestion! Yo existo porque soy lo que soy como soy porque soy como soy, es decir, soy real, palpable, tengo una voz, expreso lo que pienso, no utilizo geroglificos ni dibujos ni imagenes porque tengo una presencia real, no soy fake, yo soy yo.

-      Oiga y yo existo si tengo una audiencia?

-      Que usted piensa?

-      Existo porque me hacen, o existo porque soy? Dependeria mi valor, del valor que otros me den o del valor que yo mismo me otorgo porque soy? Es decir, yo tengo una expression, yo tengo una serie de trabajos que hablan de mi y lo que soy, entonces existo.

Y la verdad de las cosas es que no hace un trabajo por el reconocimiento de las gentes, lo hace pork le gusta hacer lo que hace, le gusta perfeccionar lo que hace, los retos son con uno mismo y no contra otros, y en ello encuentra gusto y gozo.

Usrted dejaria de hacer algo que le agrada por circunstancias ajenas a usted?

Dejaria de ser maestro porque no tiene ninos?

Dejaria de ser doctor porque no tiene pacientes?

Dejaria de ser mecanico porque no existe carro que arreglar?

Que ustred piensa?

Elements in your book by order of importance

The order of importance of elements in a book can vary depending on the genre, theme, and narrative structure. However, here are some common elements that are often considered significant:

- Plot: The sequence of events that drive the story forward and create tension, conflict, and resolution.

- Characters: The individuals who inhabit the story and contribute to its development and emotional engagement.

- Theme: The central idea or message that the book explores and conveys to the reader.

- Setting: The time, place, and environment in which the story takes place, which can enhance mood, atmosphere, and context.

- Writing style: The author's unique voice and the way the story is narrated, which can greatly impact the reader's experience.

- Conflict: The challenges, obstacles, or opposition that the characters face, driving the narrative and character development.

- Dialogue: The conversations and interactions between characters, providing insights into their personalities, relationships, and plot progression.

- Pacing: The rhythm and speed at which events unfold, affecting the book's flow and reader engagement.

- Emotional resonance: The ability of the story to evoke strong emotions and create a connection between the reader and the characters.

- Tone: The overall mood and atmosphere of the book, which can range from light-hearted and humorous to dark and somber.

- Point of view: The perspective from which the story is told, influencing the reader's understanding and connection to the characters.

- Symbolism: The use of symbols or metaphors to convey deeper meanings or layers of understanding.

- Subplots: Secondary storylines that add depth, complexity, and variety to the main plot.

- Imagery: Vivid and descriptive language that appeals to the reader's senses and creates vivid mental images.

- Structure: The organization and arrangement of the story, including chapters, sections, and narrative devices.

- Originality: The unique and innovative aspects of the book that set it apart and make it memorable.

Contracts in the Entertainment Business

Contracts in the world of entertainment are important because they involve different aspects of the relationship between artist and manager. The contract stipulates the extent to which the manager will commit to the artist. There are agreements that could only include organizing tours for the artist. There are others contracts that might include planning the professional career of the artist involving not only the creation of the artistic image but also organizing every performance, recording, and interviews.

A contract that defines a superficial relationship between artist and manager might only include planning tours. This type of contract might not be beneficial for the artist in terms of professional growth and image development in the entertainment industry. The amount of time the manager spends on the development of the artist’s career is dedicated to plan live performances and get the money. According to Howard, a manager who establishes this type of relationship with the artist might not know much about business development.

There is another type of contract in which the manager is committed to bring out most of the artist’s capabilities. The contract includes an elaborated plan, detailed organization, a meticulous design, and precise control of the professional career of the artist. The manager is also responsible for finding the financial funds that might be needed it to reach the summit of success.

According to Paul Allen the functions of a manager should include: 1. All the phases of artist’s career in the entertainment industry 2. The appropriate music and show designed for live performances. 3. Publicity, public relations, employment, and advertising. 4. Image and related matters. 5. Booking and talent agencies that work on behalf of the artist. 6. The selection of other key team members such as attorneys, business managers, accountants, publicists, and a Webmaster.

In addition to the functions outlined before by Allen, George Howard suggests that the manager should go beyond signing a contract with the artist by providing a business development scheme. The manager should not see the artist as an investment that could pay off in cash after settling a recording deal. According to Howard management is “about leveraging the brand equity to create direct revenue streams, as well as strategic partnerships where you, again, create visibility (thus increasing brand equity) and revenue.”  He also mentioned that “most of the managers are not prepared to do business development.”

  REFERENCES

  Allen, Paul. (2007). Artist Management for the Music Business

Howard, George. (2011). Artist Manager Must Understand Their Role is Now Business Development. Retrieved from http://blog.tunecore.com/2011/02/artist-managers-must-understand-their-role-is-now-business-development.html

Write your book STEP BY STEP

hello hello, it's me again!

today i'm bringing you a step-by-step / checklist to finally get your book done. i know it can be a bit complicated to put everything together to make your idea come to life (you're definitely not alone!)

that's why i compiled some tips and made this post, in hopes to help some author out there :D

let's get started.

PREMISE

assuming you already have a good idea in mind, you should start by writing a premise. to help you with that, try to answer these questions:

who is the main character?

what are their goals?

which troubles will they face / what's stopping them from achieving their goals?

do they have an opponent? if so, who?

now that you know the answers to these questions, it's time to write the premise. the premise consists in a sentence that summarizes your whole idea.

PLOT OUTLINE

there are infinite ways to plot your story. you can do it by writing down ideas and linking them together, following a scheme, or any other method.

the most common plot outlines are these:

synopsis outline: one to two pages, where you hit all the major beats of the story

in-depth outline: outline each chapter/scene

snowflake method: develop the premise into a bigger paragraph, and that paragraph into a page (etc.) until you have the whole outline of your story

booken method: plot the start and end of the story, and the main characters

the novel factory created plot sheets for free, and you can choose from eight different templates. you might want to check it out!

KNOW YOUR CHARACTERS

having your outline defined, you should start developing your characters now. the main character's profile might be more detailed than the others, however, it's up to you. there are many character sheets out there on the internet that will help you create flawless characters.

i have a post with resources that might be helpful when creating a character, check it out!

and here you have some prompts and sheets to create a character:

Quick Character Creator - EA Deverell

Extremely detailed character sheet template - @hawkasss

The Best Character Template Ever - Dabble

Character Twenty Questions Worksheet - The Writers Circle

at this point, you should also define the narrator's voice, tone, etc, as well as the pace of your novel.

LOCATIONS

define the principal locations of your story, the settings, and where the story is taking place. it's important to know how the environment looks, and how your characters feel about it.

for this part, you might find it useful to do some research about some locations, if you're not familiar with them. find inspiration on Pinterest, Tumblr, or even on books, paintings, and art. everything is valid.

if your story takes place in a fantasy environment, you might need to fill out a template to create it or write down the way you imagine it to be. try to get as many details as possible, so there are no holes when developing the novel.

SUBPLOTS

you might want to give more depth to your novel by developing a subplot (or more than one). make sure it doesn't get too confusing or that doesn't take the focus away from the main action.

the subplot can be a romance, another character's relationship, a character's arc, a backstory, etc. this will make your story more real and 3D, more realistic.

develop it as a side story and mix it with the principal plot but don't make it as important as the main story, otherwise, none of the plots will make an impact.

SYNOPSIS

write a synopsis as long as you wish, covering every important part of the story. this will help you to really know your idea, and have a solid structure for it. it can range from 500 to 2,500 words, but you don't have to restrict yourself to a number.

things the synopsis should cover:

the status quo

the complication

initial challenges

midpoint

further challenges

the low point

the climax

the resolution

DRAFT

and we get to the best part which is writing! now that you know everything about your story, characters, locations, and scenes, all you have to do is to put all that together in words. don't feel pressured to make everything look perfect already, just write what comes to your mind. if you have a new idea for the plot, good, write it down! if this character doesn't make sense anymore, okay, get rid of them. just go with the flow, following the structure you've planned, and everything starts to come to life.

i know it's so tempting to go back, read what you wrote, and start editing and polishing, but trust me, don't do that! it's a waste of time, and you will take so much more time to finish your first draft. in fact, i've given up on so many stories because of that...

just when you finish the first draft, you will re-read everything and start editing, fixing plot holes, changing what doesn't fit well, etc. but for now, just write, get the first draft done. enjoy the process, don't rush.

thanks for reading!

i hope this post was helpful!

also, you might be interested in this free workbook with over 90 pages and many exercises! check it out here: THE WRITER'S WORKBOOK

resources for this post:

How to Choose a Plot Outline Method: 4 Techniques for Outlining Novels

How to Write a Novel: A Step-by-Step Guide

Structural Editing

What is a structural editor (SE): A SE will consider your manuscript as a whole and help you work towards improving your novel for the sake of the reader. SE are the connection between what the readers need, what the publisher requires, and what the author hopes for their story. Developmental editing and structural editing often cross into one another and focus on the same goals/objectives.

When to get a SE: This is usually the first stage of editing. They need the full manuscript in order to properly assess your story and all the elements within. If you’ve finished your manuscript, and you find the story still doesn’t seem quite as professional as some published books, this is the place to start.

Benefits of having a SE: SE are amazing at assessing a story as a whole and determining how to shift your story to meet expectation of publishers and readers. They help set you in the right track to get your novel published and share your story with your readers.

What they do for you:

Issues with plot

pacing issues

character, setting or theme issues

writing style issues

organize or reorganize paragraphs and chapters to help make your story comprehensive

considers audience, purpose and medium of publishing to help structure your story better

help you work on premise, point of view, and voice

work through scenes to trim the unnecessary details, and expand on some areas to improve comprehension

work on dialogue

consider the flow of the story

What they won’t do for you:

Grammar, spelling and punctuation.

working line by line to clarify meaning

work in formatting or typesetting for the manuscript

When choosing an editor, be sure to be clear as to what you want from them, and what services they can offer you. No two editors are the same. Some may offer more services while others may specialize in more specific ways. Typically, you can ask for a sample of their work to determine if you will match with your editor, or if they’re not the right fit for you.

If you found this helpful, like, comment, share, and follow for more!

Happy Writing!

Por que, Juan, por qué? -preguntaba su madre- Por qué te resulta tan difícilmente ser como el resto de la Bandada, Juan. Por qué no dejas los vuelos rasantes a los pelícanos y a los albatros...

Mira Juan -dijo su padre con cierta ternura- El invierno está cerca. Habrá pocos barcos, y los peces de superficie se habrán ido a las profundidades. Si quieres estudiar, estudia sobre la comida y cómo conseguirla. Esto de volar es muy bonito, pero no puedes comerte un planeo, sabes? No olvides que la razón de volar es comer.

Juan Salvador Gaviota. Richard Bach.

Let me fly 🌅🪽 !.

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