These are the mistakes that usually fall to start writing:
Cacophony:
sounds are repeated abuse hearing. To remedy these singsong, just reread the text aloud and find synonyms for words with the same end.
USE
the gerund:
special attention should be paid to the use of the gerund since, used to excess, produces a slow, heavy pace.
"It is wrong to use the gerund after, that is, one that indicates an action after the main verb.
"The teacher left the class found the director."
-is also incorrect to use the gerund when accompanying direct add things, and indicates action or change:
"I saw a whirling ball.
" Neither is correct usage of the gerund with names based on the indirect or circumstantial.
"I bought my mom flowers to celebrate their holy"
"The gerund not be used:
a) As specified adjective referring to things
" This is the order determining the structure "
b) As a model that means quality or state.
"I offer dog knowing hunt
abstract vocabulary:
When you start typing, the use of abstract language is almost inevitable. However, you have to do without the big words: Truth, Freedom, Destiny ... In a story is over. Not help the understanding of history, do not explain the background of the argument, or do not explain, rather, as it should be, in which characters are involved.
In this sense, it psychological vocabulary without depression, was not motivated, it was a family tension ... On one side is that, of more or less technical words not involving the emotion of the reader. On the other hand, say a character who is depressed is too pale a summary: what makes that character, what they think, what they remember, what you try to forget ... all that is what the text should give us, rather than a clinical diagnosis.
is also a common mistake to count things in the abstract. For example:
"That morning, Peter was balanced, optimistic and confident"
"That morning, Peter closed his house a bang, without worrying about lock up and tap-dancing down the stairs "
In the first sentence the reader is asked to process three concepts: balance, optimism, security.
In the second, you are invited to observe a character is described in a scene.
All concepts of the first sentence are present, such as shares in the second. In looking at what makes the character, the reader will induce, also how it feels. The first sentence bored. The second entertains the eyes, gives task to the ears, and awaken curiosity. The first is a summary and abstract, while the second phrase is descriptive and specific.
therefore, should "see" the story before you write it. Close your eyes and imagination projected onto the scene by scene, the film will shoot with that argument. Addressing the story as a description as detailed as possible, those images that have passed before us. PD
Look what you do in life verbal, if you have to tell your spouse that your child has misbehaved, not comentaís: this boy is bad. Le comentaís a fact: This morning I did not want to wash, and had breakfast and I threw the laundry out the window and has bitten the cat.
assertive style:
Beside this abuse of the abstract, it is common style for small accounts assertive. And sometimes, it is necessary to affirm or deny, without further ado or fuss.
But in general the nuances, the almost, perhaps, an air of indecision in the narrator's voice, contribute greatly to the credibility of the story. "Almost, at times, a little, perhaps, it seemed, as it were, ..." better than these: "always, all, no doubt, was ..."
If I tell the story of a character kind is likely to end up telling that: the misfortunes of virtue bulletproof. And maybe, if I am good, I get that strain. But it's hard. A story like "the good, the bad, the silly, the ready-bit is set to our experience. A kind person who has, however, a weakness, it is much more credible and enlivens the narrative passage. A story that confirms what we already knew - "X is a saint" - falls on the monotonous. But if we start with "X is almost a saint," appears to holy '... if we pose the story from almost, of what has come to test their holiness, and have a dramatic core, a focus of action and interest.
emphatic style:
Another very common fault is the emphatic style. And although it is an error with some pedigree-usually denotes wealth of vocabulary and verbal ability, you should avoid at all costs. We refer mainly to the hype. For example:
"He cry startled him "
" Your bowels quaked at that awesome scream that tore his ears. "
When looking for a relief effect will be to work from the contrast. For the reader to hear that cry, for example, should play from a few sentences before, with very slight sounds: the rustle of the curtain in a window, the ticking of a clock off ...
IRONY:
is the strongest action to highlight something, a gesture, an action an idea.
Some issues may require serious treatment. But a note of humor, an ironic touch, give vibrancy to any story. And support its plausibility. Without a counterpoint distance between racks without the mockery that is the irony, the stories, even that move, charge a little.
MATCHING THE TEXT:
The anaphora, and the reason cataphoric are essential resources, there is no story without them, and generally use very little. Because maybe it makes sense that a story begins with the start and finish at the end. However, in an artistic text that logic does not matter. In the story, rather than linear, interested in organic. And a body is that, a set of interrelated elements. Anaphora and cataphoric
are simple resources. Anaphoric call all phrases that repeat, remind, mention, earlier passages of the same story. Cataphoric which are anticipated, a more or less explicit, the facts that follow.
On the other hand, as another resource of the first order, although more difficult to grasp is the reason. The reasons are not concepts that should appear throughout the story. They are not ideas but things. They might say, a few items that we place strategically on the set of history.
An example: suppose we try to write a story about a divorce. Well, the argument can go either way, but we will have them appear in the course of the narrative, a roadblock, pruning shears, a bridge that threatens to collapse, few days of sun in mid-January, an odd glove, a broken sleep at midnight, a returned letter has not reached its destination, a song whose end has forgotten some of the characters ...
All these are reasons. Things and concrete actions that will strengthen the main idea of \u200b\u200bthe story.
Without cataphoric anaphora and without motives, the story progresses in a vacuum. Should build according to that old story narrative consists Leninist: two steps forward, one step back. It should be noted that the reasons are important because the information provided by the text tends to disappear, to fade, and the reason is an allusion, an indirect signal, an effect redundancy, which is constantly reminding the reader what it is there.
ARCHIPELAGO THE STORY:
action emerges in a few islands, without a visible link that one, and it is as if history had been inside, drowned in the author's intention. This failure can only be addressed with the text before, chasing the threads of the plot, but due to an error of perspective that is also among the singers novel: the more you listen to oneself, the better resonates within their own voice, less is heard from outside. The technique of singing, like the story, is to project the sound. You have to sing as if you were sitting among the public.
must write from the place of the reader.
often difficult to take away their own text, focus on that story as if it were theirs, and ask the questions that the reader would. But therein lies the art.
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