How To Find Your Own Writing Style

Hablando Se Entiende La Gente Video Oficial. 

‘BUENO BUENO QUIEN HABLA’;  Quizá el siglo XXI vaya a ser reconocido, como el siglo, donde las nuevas comunicaciones y los medios sociales sustituyeron al emisor, al hablante, al humano, a la persona, y entonces ya las personas no hablan, sino emiten mensajes pictóricos que suplantan a la palabra, o fotografías posteadas que avalan ideas, o esbozos de ideas en un post que insinúan conductas, o discursos de otros personajes, bajo seudónimos, alias, avatares, Poncios y Pílatos, barajas y cartas, pero el ser humano real es suprimido de la conversación real, porque no quiere asumir la responsabilidad de un discurso, no quiere asumir el “yo esto dije” como manera de ejercer responsable la libertad de expresión, y esconderse mejor, bajo los alias, bajo las cartas, sin recibir la responsabilidad del recibir aprobación o rechazo. 

“BUENO BUENO QUIEN HABLA’ para recordarnos que es el sujeto, verbo y predicado de la oración, los elementos de toda palabra que intenta comunicar un mensaje. Y esto esta siempre presente en todos los lenguajes español, ingles, italiano, francés, porque el sujeto, quiere decir el que habla (no dibujos, no quotes, no pictografías, no palabras de otro) sino es el sujeto el que habla para determinar una acción “Juan corre en el campo” dice que es Juan, un nombre personal desarrolla una acción: pero si se pone una foto de un hombre corriendo en un campo, quien dijo que corre en el campo? La pictografia, o la fotografía no suplanta al sujeto! 

Las nuevas tecnologias de comunicación están suplantando al SUJETO DE LA ORACION, y el  SUJETO DE LA ORACION esta siendo suprimido por Alias, seudónimos, fake names, avatares, cartas y barajas, que traspasan mensajes de otros (no personales, con propia voz) con posts de otros, con ideas de otros y si la comunicación entre los seres humanos es a veces difícil de comprender, sera mas difícil de comprender con las CORTINAS DE HUMO y con personajes y avatares ficticios que comprometen, dificultan todavía mas, la buena comprensión del oyente, que es nuestro objetivo principal de toda comunicación seria.

 “BUENO BUENO QUIEN HABLA’ para recordarnos que debe haber un sujeto real, que emite un mensaje real, avalado por una presencia real y cuyo mensaje dirige a otro ser humano en una disposición de entender, para comunicarse mejor.

This is a logo designed for  What' Up San Antonio. A radio news program that will be reaching the youth in San Antonio, Texas. The tagline has been changed to "News from a Young Perspective". The people in that background represent young people gathering in a certain place to have fun and "do their own stuff", even though they are quite different, and involved in contrasting activities. Everything in that picture denotes life and movement as a youth icon.

The word "What's Up" is a young slang that represents  "Hello, how you are doing",  and San Antonio is the place where the news for youth are being delivered. According to Laura Ries to brand a product we need an image and a few words, and that image should have emotional power and should be your visual hammer. Our image includes youth playing in a background, and the words are "What's Up San Antonio", which is the name of the radio program.

Another aspect about branding is the Name of the product, and the Logo that identifies the brand as "unique". Name and Logo ideally should answer three questions: What exactly you do, who your customers are, and how you are going to be unique. When branding, all of the elements should be coherent, and gladly all of these three questions are accomplished in our product by the name of the radio program, the logo, and its tagline: What's Up San Antonio is a radio program (who are you?) reaching the youth (who are your customers?) and we are delivering "News from a Young Perspective" (How are you going to be unique?).

According to the Law of Color, red is the color of energy and excitement, and blue is peaceful and tranquil. We included those colors into our logo to denote that passion and that peacefulness in that specific background. (The 22 immutable laws of branding. Al Ries and Laura Ries).

Where is that noise coming from?

Como diria, en una noche estrellada En un camino solitario... Las palabras A aquel amor Que le hace suspirar Con un sello propio Muy de suyo Para denotar esos sentimientos Que surgen Entre la noche bella y oscura

How to create “complex” characters

– Introduction

I wanted to make a post about creating complex and multifaceted characters, since character creation is something I'm very passionate about from both a craft and storytelling perspective. Specifically, I remember I had this tendency to apply flaws as an afterthought to my characters in hopes of making them balanced and seem more complex, and this could often make the characters feel a bit artificial to me. I'm obviously not any sort of authority figure on the subject, but I do have one tip that really simplified the process of making characters more intricate, and I wanted to share it! This is probably more helpful for people who might still be at the very beginning of their writing journey, but hopefully others can get something out of this as well! It's a bit lengthy, but I hope it's somewhat enjoyable to read ^^; Enjoy!

For a bit of background, back in the early internet days, there was this trend of judging various OCs on youtube, deviant art, etc. where people would essentially evaluate your character and determine whether or not a character was well written. During this time, the term "Mary Sue" would get thrown around a lot (which is a whole can of worms I won't be touching on here). For simplicity though, Mary Sue generally means a character who's "perfect" (again, heavy oversimplification here). To counter this, people began creating these lists of character traits where they'd list off a character's good and bad traits, and people who didn't have equal amounts in each category would often be scrutinised for it.

And I see this advice all the time. If you want complex characters, people will usually tell you to just throw on a bunch of flaws, but I think this can be a bit misleading, because most traits exist on a spectrum, and aren't a perfect dichotomy of good and bad.

Thinking of character traits as neutral

My biggest advice is honestly to just think of all character traits as neutral. Because what really is a character flaw? A flaw is a very ambiguous and subjective term after all. What might be considered a flaw in one character could be considered another character's greatest attribute, and vice versa. Functionally, a character flaw should be a trait that creates conflict within the context of the story. Any trait a person has could be good or bad, it just depends on how it shows up in practice and how it's applied in daily life. It might be tempting to think that certain traits are inherently good or bad, but again, flaws aren't really about good or bad. They're about conflict and tension, and just about any trait can work to a character's detriment or in their favour.

I'm going to list off two examples of hypothetical characters below; one who most would consider to have a lot of "good" character traits, and one that would be considered to have "bad" character traits. Then I'll show you how you can easily flip those traits to create nuance. (And again, I really don't think good or bad are relevant terms here, but it's just to exemplify what I mean more easily!)

The "Good" Character

This character is empathetic, creative and incredibly supportive of others. They always do the right thing, and are a very responsible individual. They're approachable and friendly, funny, and generally enjoyable to be around.

The "Bad" Character

This character is cunning, manipulative, and don't care if their words hurt other people's feelings. They're largely apathetic and unreceptive, don't care about rules, and don't go out of their way to get to know people.

Their flaws & how it can affect the story

For the "good" character, you can look at what the downsides of empathy can be; very reactive emotionally, perhaps even a bit emotionally impulsive. Maybe they have a difficult time recognising their own needs, especially since supportive is also a trait listed above. Maybe they even use this empathy to figure out other people's needs and use it to their own benefit. Someone who's creative can often have a difficult time committing to their passions and ideas because there's always something new. Maybe they feel out of place or easily stifled by rules, but because they always want to do the right thing, they're hesitant in outright breaking rules and social norms. If they use their empathy and approachability to manipulate, perhaps this is their way of subtly regaining a sense of control because they're too afraid to explicitly go after what they want in life. Maybe they care a lot about how they're perceived, etc. Or maybe they really are a compassionate and kind person, but they're often a doormat to others because they don't know how to set boundaries or even how to recognise what they want. Maybe they don't trust their own judgment because they're so used to doing the right thing "just because it's the right thing to do", and don't actually reflect on their actions beyond that. There's a lot you can do with these traits!

For the "bad" character, which might seem a bit more tricky at first, the easiest way to figure out what the nuance of "bad" traits can be is to break down the why. Maybe this character became cunning because they've had to think long term a lot. They're good at waging the odds, they're good at reading the room, they're good at putting things together and seeing how the dominos will fall. Maybe they're even the person responsible for setting up the dominos, because they don't trust anyone else to make sure that there's a desirable outcome. If they're manipulative then it likely means that they're good at reading people, and they must know how to appeal to other people to some degree, otherwise they wouldn't really be able to manipulate anyone. They're likely used to having to look out for themselves, and they might even be good at spotting their own kind and knowing just when to avoid them. They don't care much for rules so they might not be as harsh in judging others, maybe they even have an easier time getting along with people who dare to defy social norms. Maybe they're even supportive of other people breaking the rules, because why the hell not?

Creating nuance

If you look at the two characters above, you'll quickly realise that they could hypothetical be the same character, because... They are. The "good" character is the "bad" character when they were younger. The "bad" character is the "good" character's future. An empathetic character can easily turn that empathy and their social skills into cunning manipulation. A character who previously felt stifled by the rules might choose to defy them. A character who got sick of caring how others perceive and judge them might choose to stop caring about what others think, and might even go out of their way to seem off-putting and un-approachable, because they refuse to ever allow themselves to care about others and be treated like a doormat again.

Or you can treat them as two separate characters that function as foils to one another. They both overlap in a lot of traits despite it not seeming so at first glance. My point is, I find that if you treat all traits as neutral, you don't really have to manually "add" flaws. Most traits have both upsides and downsides, and which side of those traits create conflict in the story is often what determines whether something is a flaw or not.

– Outro

Sorry for the lengthy and possibly rambly post, I just thought it might be advice worth sharing as it's something that really helped me flesh out my own characters more when I was still very new! Plus, as mentioned before, character creation and analysis is one of my favourite aspects of storytelling, and I'm also very passionate about psychology and philosophy and such. And again, this is all in good fun and 100% not a rule on how to write characters! There's exceptions to everything and everyone's process is different, and while this advice might be helpful to some, it might not be helpful whatsoever to others, and that's completely fine!

I'd love to make more posts on topics like this in the future if people enjoy it, or if anyone has any specific requests on anything! :,)

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

Claudia

Claudia

Oiga volteé en esa esquina donde dice Laurel, por favor dijo Claudia.

Es usted tan viejito que no alcanza a ver los rótulos de las calles y le tienen qué anticipar las vueltas… Por qué no usa lentes?…

Y Claudia soltó la carcajada.

Cada vez que podía, Claudia echaba en cara su juventud contra mi supuesta vejez, pero era su forma de divertirse conmigo, y admito, a costa mía.

No me importaba ni tenia un conflicto con la edad, de hecho la disfrutaba, al encontrar cosas que en otros tiempos me detenían de ser realmente lo que era: único, especial, con una personalidad que me encantaba. Y debo decir que los temas favoritos de Claudia y Jessica era la juventud y la vejez, cuando podían y sobre todo cuando ambas se juntaban a hacer equipo.

Si los dinosaurios existeieran le dirían… Amigo cómo estás? decía Claudia y si las montañas hablaran dirían pies que por aquí te vieron pasar, secundaba Jessica; si las estrellas se contaran a sí mismas, remataba Claudia, le preguntarían la última cuenta…

Por qué?

Porque antes de las estrellas ya estaba usted!!!!

Jajajajajajaja…

Muy graciosa, muy graciosa…

-Ah, Ya vamos a prosopopeyas?

-Whhhhhat?, exclamaba consternada Claudia

-La suya!!!! gritaba Jessica… Ay por si…

-Jessica te pasaste, reclamaba Claudia, te pasaste…

Muy graciosa, muy graciosa, prorrumpía yo.

Yaya?

Ya le he dicho que no me llame Yaya, decía Claudia.

Yaya porque te dicen Yaya en tu casa?

Ya sé. Porque tanto desesperabas a tu mamá en la cocina que te decía… Ya! Ya! y te aventaba el palote, o sería por eso que cuenta Jessica que te juntaba jugar karate con los hombres y movidas tus manos en posición de karate y decías IA! IA! IA! IA!; o porque tu mamá cuando estabas a punto de nacer decía cansada y con las últimas ganas y en desesperación… ya! ya!

Eres un fastidio y dolor para hombres y mujeres… Algún día cambiarás, hija mía? Te quieres confesar?

- De padre usted no tiene nada! refunfuñaba Claudia

- Lo soy y de dos hijos muy bonitos, hechos con Herdez

- Herdez?

-Hechos cooon amoorr, con toda confianza es Herdezzzz- Usted está loco!

- De poeta y loco todos tenemos un poco

- Usted nunca pierde, verdad?

- Todo lo aprendí de tíiiiiii (puedo cantar?) Todo lo aprendí de tíiii

- Ehe esa es una canción de Ana Barbara!!! Esa es un canción de Ana Bárbara! gritaba exaltada Jessica

-Ay la baba! Este no es el concurso de Adivina por los 64 mil… jugaba Claudia…. Y todos nos poníamos a reír. Jajjajajajaa

Así pasaban la bromas, por momentos, de entre las innumerables del día, multiplicados por mil doscientas lunas que eran tres años, tres meses.

Ese era el juego preferido, ver quién tenía más astucia para hacer va mal al otro, entre el cariño, el afecto y el trabajo.

Coca Cola has been very successful  at transmitting the same message over and over again to create a brand of its own. A brand that tells a story: There is always happiness, there are dreams, there is love, there is hope, peace, kindness, laughter, generosity, and magic scenes. A positive message is inside all the stories. 

The beginning of every adventure in business depends on trust. How we build it, what we do with it, how we take advantage of it and where we can  go with that trust. Interest topic delivered on TED. Com by Simon Sinek titled "First Why and then Trust".