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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?

Platicas de Cafe

Querida Amiga: Cuanto gusto me causo su presencia del dia de ayer. Encuentro siempre que las bondades del ser humano son mayores cuando hacen acto de presencia, y en ellos muestran su aprecio y bienaventuranza a quien los recibe. Cuantas cosas no compartimos bajo las terrulias de cafe y pan, que no fueron de licor y vino, para no exaltar nuestras emociones en impetus juveniles que comprometen mas alla de la amistad, y agradezco la prudencia y sapiencia suya, al escoger cafe y pan sobre el licor y el vino. El cafe tiene ese sabor rico, que despierta en una manana venteada, y oye el susurrar del viento mientras una buena lectura de Ana Karenina se sostiene en las manos. Y dentro de esos momentos agradables, aun recuerdo cuando tuvo a bien aproximarse, y en una parte de sus discursos dijo estar cansada de decir una y otra vez lo que no entienden otras personas. Parecia estar angustiada por lo que otros no comprendian de usted, y en mi afan de querer ayudar, si es que me lo permite, me quede pensando y realice que usted no necesita entender a las personas; solo aceptarlas como son. No hay mucho que deba agregar a este comentario por cuanto aceptar es querer a la persona como es, por cuanto no se trata de nulificar a uno para justificar al otro, y menospreciar al uno en exaltacion al otro, por cuanto hay un respeto envuelto en ambas personalidades. Espero fervientemente que estas escasas lineas le puedan servir para clarificar ideas, y admito, que es mi deseo poder ayudarle con las interrogantes que de repente encontramos en este mundo, atribulado por las interrogantes que no encontramos. Sin mas por el momento, quedo de usted.

Writing Fanfiction: Tips for Avoiding Common Pitfalls

Fanfiction is an often under-rated genre. Tons of authors have honed their writing skills with fanfiction, not to mention the millions of writers and readers who love exploring familiar stories and characters! Today, NaNoWriMo participant Ville V. Kokko has a few tips for making fanfiction writing shine:

Fanfiction is a popular form of writing and one of the recognized genres for novels on NaNoWriMo. Yet, it’s also stereotyped as an inferior—some might call it silly—form of writing. While denigrating any genre as a whole is never a good idea, there are some common patterns in fanfiction that may contribute to this stereotype.

Of course, one of the popular stereotypes is that fanfiction is full of “Mary Sues”: overpowered, supposedly awesome self-insertion wish-fulfillment characters. I’ll skip that familiar topic and dive a little deeper into what’s behind it and what other fanfiction tropes can appear for similar reasons.

1. Give your characters some depth.

Fanfiction is almost by definition created by people who were touched by the original work enough to want to build something more out of its foundation. This can be a great fount for good story ideas: what if, what next, what about this character’s unexplored story, etc.

Keep reading

Everything is About Finances!

I still remember when I was at my friend’s house and used to poke around by grabbing the paper to read the news, and show off myself by saying “my stocks in the market are doing pretty good”. Nothing to laugh about it, except that the only thing of value was my own bicycle that I used as a mean of transportation to go from home to everywhere else, and my own persona if a body could be counted as gold since my family was “poor” in the terms and conditions of that little kid from “Rich Dad, Poor Dad”.

Years passed by, and we do not know what the future holds for us, and one day at school I am supposed to write a blog for my Entertainment Business Finance about the things that I learned in class. Believe me I learned a lot, and now the real world.

Stock market? Google stocks or Wal-Mart stocks? Which one do I go for? It depends. Stocks in the market behave divergently depending on the sector, and even within the sector a share might be of high value, depending on the company performance such as its efficiency, liquidity, profitability, and stability. We should look at the ratios when we compare Google vs Wal-Mart: Return of Investment (ROI, which is related to the efficiency of the investment for the company) for Google 14.15; Wal-Mart 14.31; Return on Equity (ROE, how much profit a company makes with money from shareholders) for Google 15.55 and Wal-Mart 23.30.

  Negotiations? Big deal in business finance when making a contract with an artist. 120 millions deal for Madonna in which she is getting 90 % of the concert sales, and also 50% of licensing money? In the top of that, LIve Nation is releasing $17.5 million to the artist in advance, plus another $50 to 60 million dollars when she delivers the music for some CD’s.!!!?????

What!!??? Are you crazy? She is going to steal even the clothes that I am wearing on! There should be a point where the artist knows when enough is enough! Do not worry my son- it seems to me that the CEO, Mr Rapino from Live Nation is telling me- everything is about finances! “We got the Madonna 2014 tour at 2008 prices… We project that Madonna will gross over $1 billion in this 10 years. She's working to generate the $1 billion, not the $100 million schedule that we're going to pay her over time. That's just the appetizer.” Everything is about finances; the money that you spend in the present time will grow in the future because “time is money”. It is like buying a house at $100,000 at the present time, and within 15 years that same house will value $140,000.00 because of the rate of inflation, interest, and time value of money. You see? I take off my hat for Mr. Rapino. Nice move, and above all, a whole concept about finances and time value of money.

Decisions in business? How would you know if an opportunity for business is good at the present time, and will be good in the future, taking into consideration the different rates associated for that loan?

R: By analyzing the profit that will be made in the future minus the cost at the present time. Formula? NPV= PVB-PVC

How would you know if an investment of $100,000 would return, at what rate, and within what time? Payback= C/ATB

I could go on, and on presenting a lot of variables and formulas that show us how taking business decisions is about critical thinking and finances.

  As I said before, and I repeat it again: everything in business is about time, rate, money and finances, specially finances which is the key to analyze proposals to get the best deal that should be represented in profit, profit, and profit.

What did I learn from this course? Finances, is the most important key to make business profitable

    REFERENCES

  http://www.reuters.com/search?blob=google

http://www.reuters.com/finance/stocks/overview?symbol=WMT.N

https://assethub.online.fullsail.edu/assethub/Disc-LiveNation_f423bde6-646a-4a15-8a27-0cca269e8a6d.pdf

https://assethub.online.fullsail.edu/assethub/Disc-livenationCEOinterview_bafe6c0b-19ef-465e-8dd6-56fa1eab2982.pdf

TRAS BAMBALINAS

La escena; la escena de transición capitulo 4:  It is just the fucking rain! No, it is not!.

Primero que nada, me gusto el cambio de escena. 

1.- Venia de una escena digamos “tradicional” a una escena de “aventura”. Teníamos que inventar algo que pasara suave de una escena a otra, a  partir de dónde nos habíamos quedado para dar continuidad. La continuidad era importante, para conectar una escena con la otra, y darle seguimiento a la historia.

2.- Después, se pensó en el diálogo que necesitaba para entrar en el capítulo nuevo, y se pensó en algo elocuente, que llamara la atención, como el concepto del beso. Y teníamos que darlo inmediatamente a la entrada del capítulo, porque siempre las primeras líneas tenemos que atrapar al lector entre la trama.  

Entonces parte de ello, era voltear los papeles tradicionales de las mujeres (femeninas, unas pintadas, zapatos) a otro mas agresivo, más masculino, y los ejemplos estaban en los otros personajes femeninos tipo Lara Croft, con instintos de valentía masculina, o la otra personaje de Katniss Everdeen en “Hunger Games”. Es decir, queríamos pasar de una escena tradicional con una mujer tradicional, a otra de aventura con un personaje femenino de aventura.

El propósito era copiar personajes femeninos con características masculinas (poder, fuerza, destreza, cáracter, empuje), y la jugada, en esta escena, fue mas bien, desmitificar el ser femenino y ponerlo en un carácter masculino. Tener la cara de la mujer, pero el carácter del hombre, y por eso el juego del beso, y las otras escenas de “Quedate aquí, no salgas”, mientras su amigo está en la escena atrás, y ella está dispuesta a enfrentarse a los villanos. 

3.- En críticas que he escuchado acerca de estos cambios (y mire que no es solamente en linea, sino con otros amigos que han leído la historia) se menciona que no van muy de acuerdo en el sentido de que sea la mujer la que se aproxime a un beso, y tenga la libertad de hacerlo. Parece ser que esa idea que presentamos en los primeros párrafos del beso, no tuvo mucha aceptación no fue mucho de agrado, pues se dice que traspasa la cultura, ideas y valores de la mujer en el sentido de ser ella la que es seguida y cortejada. 

4.- El voltear la historia de una tradicional a otra de aventura, también exigía voltear los conceptos de los personajes.

5.- Será el beso considerado como una osadía al género femenino en un ambiente de aventura?” Usted me besó primero!”  “Quédese aquí atrás”, serán conceptos trastocados de la cabeza en una escena de aventura femenina?

Usted qué piensa?

6.- Y es cierto! Le falta trabajar más los caracteres y la ambientación para que no suene el pasaje como flojo. Le falta todavía más trabajo de soporte a ambientaciones y caracteres

Saltillo de Mis Recuerdos

CHIO SULAIKA Me gustaba tener la amistad de Chio Sulaika. Disfrutaba de su presencia. Chio era un reto a la imaginacion y a la ley del esfuerzo por ampliar horizontes musicales, y constantes esfuerzos de superacion personal en su arte. Graduado en el Conservatorio de Viena en Austria, con una beca nacional del Gobierno Mexicano atraves de CONACULTA, Sulaika regresa al Estado de Coahuila, donde poco despues se hace Director de la Escuela de Musica. Ese dia me invita a seguir la juerga cultural en el Teatro de La Ciudad donde la Orquesta Sinfonica del Estado tendria su presentacion anual y accedi. Ver treinta personas en el podium, de diferentes edades, con diferentes instrumentos es realmente un espectaculo sinigual. Ver al Gobernador del Estado, al Secretario de Educacion, a los profesores de Primarias y Secundarias y nivel medio entre la farandula, otorga un toque de esplendor al evento. Un palabras de Chio a mi oido durante la presentacion de la "Tocata y Fuga en Re Menor" de Bach, causan mi curiosidad y hacen la nota del dia: "Escucha lo desafinado de los violines y los contrabajos". Palabras benditas, en manos de un periodista porque a partir de ahi ardio Troya en la ciudad. La nota salio al dia siguiente a ocho columnas "Desafinado, el Orgullo Cultural de la Ciudad". Fuentes extraoficiales que pidieron no ser identificadas declararon que la presentacion de la Orquesta Sinfonica del Estado carecio de lo sustancial de todo evento: la afinacion. El orgullo cultural, la maxima excelsitud musical del Estado, la belleza musical que representa a un gobierno y sus gentes, no logra tan siquiera sonar armonica durante la presentacion, y aun asi el Gobernador del Estado aplaudio con beneplacito la presentacion. Brrrrrmmm, cae Troya. A la manana siguiente, la llamada del Secretario de Eduacion, aduciendo que si existia algo personal a lo cual el Director del periodico solo adujo: "lo unico que puedo hacer es que tenga una conversacion con el periodista, lo cual agradeci grandemente al jefe, por el respeto a un trabajo periodistico. Directores de musica que habian venido a la presentacion empiezan a hablar, el director de la Orquesta Sinfonica de la Ciudad de Mexico concede entrevista, le sigue lloviendo duro y tupido...

Writing Tips

Story Endings

✦

Importance of the Ending

↣ readers invested their time into your publication ; make it worth it!

↣ the conclusion turns readers into fans

↣ endings should be memorable & satisfying ; this will make the readers want to indulge in more of your work

✦

Choosing Your Ending

↣ know your genre ; different genres can get away with different endings

↣ a thriller novel ending unexpectedly or ambiguously would be more satisfying to readers than a romance novel ending that way ; and vise vera, a romance novel ending emotionally and with happily ever after would be more satisfying than a thriller ending that way

↣ make it unpredictable but fair ; readers should feel like they could have seen it coming

↣ find a happy medium between what your readers want and what is unexpected

↣ be careful with unresolved or ambiguous endings ; regardless of the ending, the readers need to feel satisfied or they won’t come back

↣ be careful with expanded endings ; most editors frown upon relying on epilogues to reach a satisfying resolution

↣ have your ending in mind from the beginning ; this isn’t always plausible, but it’s very helpful — you’ll end up having hints to the resolution you may not even realize, & readers want that

✦

Types of Endings

⤷ ambiguous

→ an ending open to interpretation ; allows readers to come to their own conclusions

⤷ dialogue

→ ending with a quote from one of the characters

⤷ emotional

→ leaving the readers feeling some intense emotion ; negative, positive, or bittersweet

⤷ expanded

→ expands past the events of the narrative to resolve aspects that may not be explained in the main chapters ; usually takes form of an epilogue with a time skip

⤷ happily ever after

→ type of resolved ending where everything works out in the end

⤷ humorous

→ ends with a joke or in an ironic way

⤷ lesson learned

→ ends with clear, profound character development

⤷ reflection

→ ends with characters looking back on their choices, achievements, and experiences

⤷ resolved

→ leaves reader with no questions or loose ends ; all aspects have been clearly & satisfyingly resolved

⤷ tied

→ brings the story full-circle so it ends where it began

⤷ unexpected

→ a twist the readers did not see coming but also makes sense

⤷ unresolved

→ leaves readers with unanswered questions ; usually to lead into the next book

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.