Post by account_disabled on Nov 26, 2023 10:23:18 GMT 1
Too many to handle - the chapter would have been unnecessarily long, with descriptions and dialogues of the other 3 individuals - and it wouldn't have been a very credible scene: 5 criminals to face a village priest? It's not Don Matteo. The steps to create the playlist First of all, it is necessary to divide the plot into a certain number of macro-events : in The Betrothed we could identify the following: Don Abbondio and the order to block the marriage Renzo and the lawyer Fra Cristoforo The escape of Renzo and Lucia The nun of Monza, the Unnamed and the kidnapping The plague The marriage Isn't there already a draft lineup? These are exactly the key passages of the novel. And, question, don't you see the great usefulness of this subdivision? I'll tell you: insert small, useful events between one macro-event and another to make the story more attractive.
We could mention the bread revolt or the story of the nun of Monza. If a couple learns from the priest that their wedding cannot be celebrated for mysterious reasons, at the very least they turn to a lawyer. Here, between Phone Number Data points 1 and 2 we can insert, with appropriate questions, other intermediate points. It's easy to write into the plot that Lucia is kidnapped. But how will this kidnapping happen? And again: Renzo goes to Milan. Do we want to create some problems for him? Why not? He cannot take refuge in the convent suggested to him by Fra Cristoforo and he finds himself involved in the Milanese riots. As we move forward with the questions, the story begins to take shape, but above all this lineup also helps us see what to leave and what to eliminate from the story, what can work and what doesn't.In this case I don't think it's enough to write something like "she said smiling" to get by, but to imagine or observe our dialogue with friends and take inspiration.
Movements : everything participates in movement, as we know. There are many action scenes, even a simple car journey, so it is impossible to list them all. will help us understand if we have managed to recreate that movement, if all the objects and characters involved participate in the movement. Your secondary actions But what do we really not want? Here we move from works to authors! Even if a work is not interesting for Vaporteppa, what really interests me is the author: the work was written avoiding the typical errors of an amateur writer, demonstrating that the author has some basis (obtainable by anyone with a a bit of intelligence and independent study) and was what was written sufficiently vivid, concrete, evocative, perhaps with a flicker of interest and novelty here and there in the contents? Does the author prove himself to be a person interested in improving and studying, in truly committing himself and not just talking, and with a sincere passion for fantastic fiction? If so, something good can come from it in the future and I will take care of it to cultivate its potential.
We could mention the bread revolt or the story of the nun of Monza. If a couple learns from the priest that their wedding cannot be celebrated for mysterious reasons, at the very least they turn to a lawyer. Here, between Phone Number Data points 1 and 2 we can insert, with appropriate questions, other intermediate points. It's easy to write into the plot that Lucia is kidnapped. But how will this kidnapping happen? And again: Renzo goes to Milan. Do we want to create some problems for him? Why not? He cannot take refuge in the convent suggested to him by Fra Cristoforo and he finds himself involved in the Milanese riots. As we move forward with the questions, the story begins to take shape, but above all this lineup also helps us see what to leave and what to eliminate from the story, what can work and what doesn't.In this case I don't think it's enough to write something like "she said smiling" to get by, but to imagine or observe our dialogue with friends and take inspiration.
Movements : everything participates in movement, as we know. There are many action scenes, even a simple car journey, so it is impossible to list them all. will help us understand if we have managed to recreate that movement, if all the objects and characters involved participate in the movement. Your secondary actions But what do we really not want? Here we move from works to authors! Even if a work is not interesting for Vaporteppa, what really interests me is the author: the work was written avoiding the typical errors of an amateur writer, demonstrating that the author has some basis (obtainable by anyone with a a bit of intelligence and independent study) and was what was written sufficiently vivid, concrete, evocative, perhaps with a flicker of interest and novelty here and there in the contents? Does the author prove himself to be a person interested in improving and studying, in truly committing himself and not just talking, and with a sincere passion for fantastic fiction? If so, something good can come from it in the future and I will take care of it to cultivate its potential.