Post by account_disabled on Jan 1, 2024 6:27:37 GMT
When I talked about the binomial of fantasy, or the fantastic binomial that Gianni Rodari wrote about, I focused attention on the functionality of those binomials: erotic novels with dinosaurs, vampires in science fiction and horror westerns. Today I want to focus on the importance of the situation as an impulse to history : the fundamental element to start it. Not to write it, mind you: but to know what to write about. For me, every story must start from a precise situation , which, to transform into a real story, must then contain a mixture of all those technical elements of the story that we saw a few days ago. Not everyone will agree on this point and I myself, in a certain sense, was proven wrong just the day before yesterday when I analyzed some exceptions in the narrative .
The situation that kicks off the story is the idea itself, or at least that's how I understand it: the thought immediately following inspiration. A few days ago I reviewed Super 8 on Netflix : there is a scene in which the sheriff consults a geographical map in the car. That was the inspiration to write a fantastic story or, rather, it was the inspiration that created a Special Data situation : a Carabinieri marshal finds a kind of farmer in possession of an unusual map of Italy. What's going to happen? If I write the story, you will know, because it will appear here on the blog. “No country for old men”: an example of a narrative binomial Days ago I read this novel by Cormac McCarthy, the last one of his works I missed, and the same evening I finished it I watched the DVD I had for some time and saw for the first time 2 summers ago.
The novel is better, I must say, the film was unable to enhance it and they cut and modified scenes that should have remained unchanged. That novel, and also that film, is a good example of a situation that starts a story , a narrative pairing , as I wanted to call it: a guy finds a pile of dirty money and decides to keep it. What's going to happen? I don't know if McCarthy reasoned this way, but let's say he did. It's that question that he focused on to develop his story about himself. Okay, you decided to let some random guy who happened to pass by keep the money, but now this situation, as you know well, triggers a series of inevitable events: The police will investigate all that mess The masters of money will look for the crafty the smart one will have to move and disappear Up to this point we still know nothing about the story, how it evolves and ends. Maybe the author doesn't even know it. In fact, it's better if you ignore it, in my opinion, because that way it can create a more believable story.
The situation that kicks off the story is the idea itself, or at least that's how I understand it: the thought immediately following inspiration. A few days ago I reviewed Super 8 on Netflix : there is a scene in which the sheriff consults a geographical map in the car. That was the inspiration to write a fantastic story or, rather, it was the inspiration that created a Special Data situation : a Carabinieri marshal finds a kind of farmer in possession of an unusual map of Italy. What's going to happen? If I write the story, you will know, because it will appear here on the blog. “No country for old men”: an example of a narrative binomial Days ago I read this novel by Cormac McCarthy, the last one of his works I missed, and the same evening I finished it I watched the DVD I had for some time and saw for the first time 2 summers ago.
The novel is better, I must say, the film was unable to enhance it and they cut and modified scenes that should have remained unchanged. That novel, and also that film, is a good example of a situation that starts a story , a narrative pairing , as I wanted to call it: a guy finds a pile of dirty money and decides to keep it. What's going to happen? I don't know if McCarthy reasoned this way, but let's say he did. It's that question that he focused on to develop his story about himself. Okay, you decided to let some random guy who happened to pass by keep the money, but now this situation, as you know well, triggers a series of inevitable events: The police will investigate all that mess The masters of money will look for the crafty the smart one will have to move and disappear Up to this point we still know nothing about the story, how it evolves and ends. Maybe the author doesn't even know it. In fact, it's better if you ignore it, in my opinion, because that way it can create a more believable story.