Tras Bambalinas
Tras Bambalinas
Tuércele El Cuello Al Cisne de Engañoso Plumaje.
Era en la mañana.
Apenas las luces, primeras luces del día, solían aparecer en el salón de clases.
Era especial pasar de la noche oscura del dîa a las 7 am, a la entrada del crepúsculo del dîa a las 7.01 am, en sólo un minuto digamos,( sin ser preciso en el tiempo, sino solamente mencionarlo como referencia), y pasar del anochecer al amanecer literalmente en un minuto, de lo oscuro a la luz, de las lámparas amarillentas que iluminan el salón de clases, a la luz natural del amanecer que lo ilumina todo con facilidad.
Y entonces estar en la clase de Español, con mi maestra alta, espigada, güera, de tez blanca, en sus 30’s, que pareciera española de cepa, y pasar por esa clase de “Tuércele el Cuello al Cisne de Engañoso Plumaje” de Enrique González Martínez.
Y lo recuerdo mucho, no tan sólo a él, sino también el tema.
Y es que realmente Don Enrique hizo una propuesta, y no sé si sepa el tedio de trabajar siempre lo mismo, escribir siempre lo mismo, poner las misas cüitas de donde mismo, de “copiar y pasar”, que este autor decide figurativamente “Tuércele el Cuello al Cisne de Engañoso Plumaje”, y eso era una rebeldia frente a un romanticismo que ya estaba agotado, que ya debería empacar sus maletas y subirse al avión para aterrizar en una selva perdida. Entonces el autor hace unas propuestas muy hermosas como
“ Huye de toda forma y de todo lenguaje,
Que no vayan acordes con el ritmo latente
De la vida profunda… y adora intensamente
La vida, y que la vida comprenda tu homenaje”.
Entonces es aquí, donde se observa toda la gama, amplia, vasta, inmensa del lenguaje no sujeto a clichés, formas, contenidos dados por otros, sino sólo vive… “la vida profunda y adora intensamente la vida”, pero al final que “la vida comprenda tu homenaje”, y resalta aquí el autor “la vida” porque el autor ya no busca su propia gloria ni su propio reconocimiento, vamos!, ni su propio ritmo en el verso, sino más bien que la poesía sea libre en el verso, y su aportación en la escritura sea significante, que tenga algo profundo, en lugar de las quimeras, paraísos, duques, palacios, amores y palabras llenas de rimas altisonantes, pero faltas de contenido “Tuércele el Cuello al Cisne de Engańoso Plumaje”.
Y entonces uno mira el concepto que encierra el concepto de “Torcerle el Cuello al Cisne de Engañoso Plumaje”, y da con algunas ideas.
“Tuércele el Cuello Al Cisne de Engañoso Plumaje” con los likes, porque masifican e imponen una personalidad masificada en un individuo que es único, y no desea que su valor, sea en función de millones de likes, sino en función de ser uno mismo, y no quiero que me malinterprete, porque no digo que los likes son malos, digo que son buenos cuando tienen una personalidad definida, un nombre que responde al contenido, que no son copias de lotería, o barajas de naipes, o cartas marcadas en historias perdidas, o bolts de companías con inteligencia artificial que magnifican las cantidades para dar sentido de cantidad, no de cualidad. Y entonces tener likes de “elprincipedeasturiasaquipresente” (1 Like), “soytumamaidiota”,(1 like) “TitoCaputitoPaServirleAUsteYAsuMerced”, (1 like) “PrincipedeAsturiasApoyandolalabordeTitoCaputito”, (1 Like), ‘PrincipeWilliamsEnAgenteSecretodelFBi” (1 like), “AutolikedePrincipeWilliamsqueapoyasulaborsecreta” (1 like)… No Manchen! Como decía mi sobrina
“Tuércele el Cuello Al Cisne de Engañoso Plumaje” con los copiados, con los “copy and paste”, porque sólo expresan una mentalidad negligente, con una falta de compromiso de la persona para comprometerse personalmente a esgrimir ideas propias, a pelear principios, con nombres propios, para plasmarlas, como espadas en un duelo de esgrima, para que seamos como oradores en un Partenón, discurriendo las virtudes de la verdad, del amor, de la esencia del ser humano, de su propósito, de su fin, en una cultura que propicia lo vacío, lo simple, lo de fácil copiado.
“Tuércele el Cuello Al Cisne de Engañoso Plumaje para decir que los likes no serán los huesos de Pavlov, en condicionamientos de experimentos con animales -siendo humanos- de “portante bien y recibes hueso y likes”, sino WTF con sus Pavlovs y sus likes, con los conductismos de Pavlov para realizar ciudadanos en serie, homogéneos en el comportamiento, porque la esencia no estará en los otros, sino en lo que un individuo piensa, acierta, concluye, define, aplasta, esgrime, acentùa, compromete, establece; y defiende con su espada, con sus palabras, con su raciocinio, sus ideas, las analiza, las sopesa, las esgrime, tira espadas aqui y allá, pero conoce al oponente como en todo concurso. No tira la espada a fantasmas, a espiturus, a almas sin cabeza, a caricaturas, a mofas de si mismos y lo que pretenden ser, sin cara, sino seres humanos cabales que tienen una boca para expresar y decir, y defender. Y los que participan en el discurso, en la arena, en el podium, son seres honorables que tienen una cara, un nombre, un pronunciamiento, una definición, y como parte de ello, se enfrentan en los rings, en las arenas, en los podiums con su decir, porque sus ideas son claras, están sujetas a análisis, a revisión, les podemos agregar o quitar, pero del otro lado existe una cara definida, con un pensamiento que expresa travez de una boca suya. Se hacen discursos de altura, se oyen dos oponentes con caras, con nombres. No andan nombres con nombres ficticios, ni risas de si mismos.
Porque al final de día, lo ùnico que diferenciará a uno de los otros, serán lo que producen nuestras ideas y pensamientos, y si nos queremos diferenciar de los demás en un mundo de 24 billones de personas, es mejor empezar por hacer lo que somos, pensar lo que somos, producir lo que somos, entramar lo que pensamos, hacemos y decimos, para generar productos e ideas únicas; que para reproducción de los demás, ya tenemos millones de copias.
Tuércele el Cuello Al Cisne de Engañoso Plumaje cuando las voces se levantan y dicen “este loco va solo”, y el otro contesta “van con muchos, pero son como coral arrastrado por corrientes de olas que no son suyas ni ustedes las producen”, “remedos de otros”, “copias de otros”, “marionetas manejadas por ventrílocuos y con hilitos que les dicen qué manos y pies mover”, “qué valor”, “qué excelsitud de pensamiento en lideres con cartas marcadas”.
Y mire que no pretendo hacer un pronunciamiento como la perla de la virgen aquí, perdonen ustedes, sino sólo hacer una apología de meditar nuestras posiciones en los medios, y sí sentirse bien cuando existen likes de personas reales, con intenciones reales, con nombres reales y que como dice mi mentora, amiga, y carácter de novela “vives en un mundo fuera de este mundo”, y uno contesta: “Lo sé, pero uno no es lo que quiere, sino lo que puede ser”. (Canción de José José)
Pero por favor, “Tuérzanle el Cuello al Cisne de Engańoso Plumaje”, no deje que los medios le determinen, lo definan en quien es usted y lo que quiere ser, no se deje, defienda su cultura, sus patrones familiares, sus formas personales de ser.
FOOTNOTES: Las ideas contenidas en el artículo “Córtenle el Cuello Al Cisne de Engañoso Plumaje” no se refieren EN NINGUN MOMENTO a los trabajos realizados por Creativepromptsforwriting a los que les damos crédito por las labores realizadas.
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Suspense and Foreshadowing—Two Great Tools for Writers
I’ve found that foreshadowing and suspense often get confused. Sometimes writers even forget about them. It’s time for a quick reminder about why these are such great tools for writers and how you can use them in your next story.
What is Suspense?
Anyone can put together points in a story’s plot map. You’ve got your inciting incident, a few things that happen to move the story along, then the climax and resolution.
Suspense is what keeps the reader’s eyes glued to the page in between each of those stages.
It works in every genre and helps every story. It may even be what your work is missing if you’re stuck in your WIP because you’ve lost interest.
Example: Carver is a restaurant server and sees his crush, Aiden, get seated at Table 2 with his friends. He’s had this crush for forever and decides it’s now or never. He has to ask Aiden out before he leaves after dinner.
Where’s the suspense?: There’s an emotional suspense in the relatability of feeling nervous about asking someone out after crushing on them for a while. There’s also time-related suspense because sooner than later, Aiden will pay the check and leave. The clock is running out from the moment Carver makes his decision.
Where could you add suspense?: Carver might need to take on more tables because his coworker leaves for a family emergency. He’s rushing around twice as busy for the rest of the night. Then other guests need extra things, like another set of silverware or a ketchup refill. The night passes quickly, so Carver almost misses Aiden walking out to his car.
What is Foreshadowing?
Foreshadowing helps build your suspense. It’s one of the key ingredients that you can work into your first draft while you’re writing or while you’re in the editing process.
You don’t need foreshadowing in every story to create suspense or keep your reader interested. However, it can be a great way to support it.
Example: After Carver decides to stop by Aiden’s table before he leaves, he’s so busy serving other tables that the group in his window booth get up and leave. They’re irritated that their food is late, so they talk with the manager before leaving for another restaurant.
Why is this foreshadowing?: It demonstrates how the events building the suspense—the other server leaving suddenly and forcing Carver to serve twice as many tables—make it more likely that Carver will miss Aiden. It also mirror’s Carver’s Worst Case Scenario: that he’s now too busy to fulfill his goal before Aiden leaves, because he was too busy with his other tables to get food to his guests before they left too.
Other Forms of Suspense
Suspense can happen in a few ways besides general plot points. You can also heighten the tension with things like:
Making your characters feel the suspense for the reader (they get anxious, start acting out of fear, feel their stomach knot up, verbally snap at another character).
Changing the scenery (the lights go dark because the power goes out, other characters step between the protagonist and their goal, the protagonist must leave due to an unforeseen reason).
Using specific descriptive word choices (maybe the vibe in a room becomes tense, someone feels agitated, a foul odor burns at the protagonist’s nose and makes them uncomfortable)
Varying your sentence structure (choppy sentences create suspense, while long sentences sound more monotonous).
Introducing conflict for the protagonist (make things go wrong so they have to sweat through a few challenges to reach their goals).
Other Forms of Foreshadowing
You may have heard of a few of these before, but they could still be something your story needs to deepen your plot or become more gripping. Think about adding foreshadowing tools like:
Flashbacks: maybe your protagonist has tried and failed/succeeded at a similar goal before
Chekov’s gun: introduce something that your character will use in the future (could be a literal gun, an object that they’ll use later to accomplish their goal, a person they’ll come back to for the friendship they seek, a trauma they’re pushing away and eventually have to face)
A prophecy: could be a literal prophecy from an oracle, but could also be something lighthearted in a fortune cookie, a Magic 8 ball, something a character mentions in passing to the protagonist, etc.
Symbolism: your character might set out for their first day on a job and drive there in a terrible thunderstorm, show up to the wrong location, immediately break the copy machine, etc. Something negative in the environment or a character making a bad choice/mistake can be symbolic for their overall goal or phase of life.
A red herring: your character believes somebody or something to be their antagonist/the reason for their conflicts, but it turns out to be something or somebody else
When to Use Foreshadowing or Suspense
It would be great if every writer knew exactly how to use one or both of these tools while they were working through their first draft. That might be possible if you’ve spent a long time figuring out the exact plot before sitting down to write, but that isn’t always the case.
You could add new elements of suspense or moments of foreshadowing while you’re in the process of writing. Just make sure you note what your wrote and why so you can carry that thread through to its completion or revelation later on.
You can also add these moments while editing. If your first draft feels like it’s missing something, adding in a new conflict and revising to work it into the rest of the draft could greatly improve your story. It’s also possible to drop a foreshadowing device in one chapter and jump ahead to another to make it reappear/complete the foreshadowing.
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.
Music is one of the other key elements from Coca Cola to create its own brand. The stories around the music are families together, joy, love, Christmas time, dreams, Santa Claus, and all of the other key values that we already talked about. The same values, the same stories will be presented in every aspect of advertisement, marketing promotions, ads, brochures and commercials. Coca Cola stays Focused Focused and Focused. In this sense, the company creates its own brand and differentiate from the other competitors. Stay focused, focused, and focused is a key element of branding, according to Marty Neumeier.
Fairy tales are contested terrain — places where we battle out truth and power.
Book review: ‘Once Upon a Time: A Short History of Fairy Tale’ by Marina Warner - Books - The Boston Globe (via oupacademic)
LoveSucks: totally true!
How To Write A Healthy Relationship
Writing healthy love is hard! Finding a balance between engaging conflict and fulfilling romance is not an easy task, but it is worthwhile. NaNoWriMo Programs Fellow, Riya Cyriac, offers insight, advice, and examples on how to write healthy relationships.
Throughout my time as a reader and a writer, I’ve encountered an abundance of romances that range from swoon worthy to absolutely disastrous. This is not discounting either end of the spectrum: they have their place. However, there seems to be a noticeable lack of representation for healthy, fulfilling relationships in literature. This is particularly evident in Young Adult literature, where the portrayal of healthy relationships is particularly essential. If you are interested in writing a healthy relationship and filling that void, here are some observations, suggestions, and tips to do that
Obsession and Anger are not Expressions of Healthy Love
As a young adult, I often read books that romanticized obsession and anger. If the love interest punched someone who shows interest in their partner, that is not an indication of passion or love. On the contrary, it should be a glaring red flag. If a character relentlessly pursues their love interest despite resistance, it is not love. It is an obsession, and a clear sign that the character views the other as their property. It’s tempting to use these actions as expressions of passion because it is easy and bold.
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I made it to the top! Resumes are not always written in fancy diplomas or degrees, but in knowing how, when, where and why. It's a mixture between knowledge and experience.
I made it to the top
Here you will find some of the things that I really like. I like writing, music, poems, and producing any idea that comes to my mind. I hope you like it!
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