Post by account_disabled on Dec 14, 2023 12:13:17 GMT 2
A mistake made by aspiring writers, or simply by those approaching writing for the first time, is writing based on what they have learned without documentation or personal experience. In fact, in my opinion, there are false documentations, that is, a set of notions that the writer believes he knows. The "already seen" and the "heard" are not part of the documentation, which requires longer and above all targeted work. They are memories, but memories that do not have valid confirmations or reliability that can be taken into consideration. These false notions are the result of what we have read and seen since our childhood and always come back to the surface in our minds when we have to write about something related.
And many, including myself, have made the mistake of relying on this documentation, which is not documentation. The cinema Cinema, especially American cinema, has provided usPhone Number Data with an immense number of images and information on various topics, from the Far West to the Roman Empire, from the Middle Ages to the Second World War, from post-war crime films to the present day and the 19th century. But if we have to write a novel about the Wild West, can we really rely on what we have learned from American films? I hope no writer does that. And so for all other types of stories. It is clear that the production of a film is also based on documentation, but the film is the fruit of someone else's documentation, while the novel you are writing must be the fruit of your documentation. The literature The same goes for literature.
Especially in dialogues I often read phrases and ways of speaking that I have already heard. Where? In films and books by other writers. And so for the description of scenes and actions we tend to use ways of expressing ourselves from other authors. This is not documentation, if anything plagiarism. Not exactly plagiarism perhaps, but a naive appropriation of a language that is not ours, but that we have learned elsewhere. Which we have seen others use. Dialogues must be based on personal experience. About what we actually heard with our ears. If we are to write a fantasy novel, we cannot rely on what we have read. Those readings are part of the documentation, as I wrote in the first article of this series, but at the level of in-depth knowledge of the narrative genre, certainly not to know what to write, which characters to insert, how to build a world, etc.
And many, including myself, have made the mistake of relying on this documentation, which is not documentation. The cinema Cinema, especially American cinema, has provided usPhone Number Data with an immense number of images and information on various topics, from the Far West to the Roman Empire, from the Middle Ages to the Second World War, from post-war crime films to the present day and the 19th century. But if we have to write a novel about the Wild West, can we really rely on what we have learned from American films? I hope no writer does that. And so for all other types of stories. It is clear that the production of a film is also based on documentation, but the film is the fruit of someone else's documentation, while the novel you are writing must be the fruit of your documentation. The literature The same goes for literature.
Especially in dialogues I often read phrases and ways of speaking that I have already heard. Where? In films and books by other writers. And so for the description of scenes and actions we tend to use ways of expressing ourselves from other authors. This is not documentation, if anything plagiarism. Not exactly plagiarism perhaps, but a naive appropriation of a language that is not ours, but that we have learned elsewhere. Which we have seen others use. Dialogues must be based on personal experience. About what we actually heard with our ears. If we are to write a fantasy novel, we cannot rely on what we have read. Those readings are part of the documentation, as I wrote in the first article of this series, but at the level of in-depth knowledge of the narrative genre, certainly not to know what to write, which characters to insert, how to build a world, etc.