SUBSTITUTE EXPERIENCE

After all, what is the particular quality evidenced in a book that describes actions, future worlds and feelings? Would it be a way to illustrate what happens without giving an answer, by inserting only emotions of various colors? Aren't the books - in some sense, a shirt that tries to offer us that requires a leap of imagination that we have to correctly understand in the many connections that can establish and contain a book in the social fabric of reality? As an author, create narratives so that the reader can have their ability - within the game of content of the book, of what is important to realize and that, in an all-own way, can suggest a substitute experience. The content of a book builds a need for intellectual locomotion; in other words: knowledge brings significance in the construction of the tension existing in the reader's personality and the environmental force that the author develops in the book.

EXPERIMENTS

The writer carries a tendency, whose need, is like a bell chimeting his thinking in the choice of words. Thus, it follows the level of action that is significant in enstilling the various protagonists of his story. Hence the book, in it carries, the more specific character to consider that derives in forms necessary for the thought to follow uninterrupted in the complete composition of what the author then deems important. In conducting the script of a book, the author is a willpower of its protagonists; who are always suggesting an effective intention equivalent to the very mention of an internal doubt that they experience to prove and provide basic needs of life and relationship. In my books I am searching for my characters, a goal that corresponds to the unconscious of this same person; that pursues it in the dynamic construction of what I call intentions.

CHARACTERS

When building characters, the author uses the many symptoms that his personalities intend to make. Hence justify an existence corresponding to its activity. In the presence of these needs, a force is created to act in it the persona and provoke in the character an irresistible desire to act. Finally, I determine the construction of something that has transitional significance in the environments and their peculiarities.

In character building, always search for the children of a general nature and use persona details that experiment for a wide variety of possibilities. At some point eliminate, combine, and, or adjust certain characteristics. I could say in summary that the force that moves the construction of these characters will always result from an agreement where it can unfold the story, which can change the vital spaces in the way these figures may prefer and establish themselves. Always assume a need that rises from the character, but that is in tune with the movement he will make throughout the territory that his thought reaches. Consider even the speech activities in the most diverse levels of action in which it is established, as well as in the one that projects. There has to be significance.

ORDEAL

In creating the character of some more specific characters, one can consider some specializations, and these derive in more necessary ways. Try to create a tendency in reading that reminds the reader of possible interrupted activities and that he should mostly finish them. In these derivations of the experts in their characters, try to indicate the completion of these completed tasks and maintain a climate of inconclusive correspondence - if the same applies to the reader, in his reality. In the books of which you are the author, try to awaken this level of thought and maintain a spontaneous tendency of this writing. The goal is an experimental ordeal that in the reader's view can - or should, be correctly conclusive. By intention, all the experiments of the characters bring certain tasks that allow themselves not to complete them and, these causes seek to achieve result - because this is the most frequent in ordinary life. Therefore, try to finish some procedures so that the main theme advances in a more accurate way, but even there, new derivations independent of the main ones leave so that you can rehearse experiments with the purpose of collaborating with the reader who intends second alternatives.

RESISTANCE

As an author, have the obligation to represent characters in a tension system in the field of action. This tension is a conceptual state of view that will relate to all micro stories, which converge to the main plot to be dealt with. The idea of the existence of a purpose in the story, is to guide the reader and thus equal the inclusion of the changes that he expects and others that come from possibilities. In the construction of the book should always predict and assume consequences and the functional importance of sub-stories, and in these, the positions that define the creation of others. Yes, it is a conceptual elaboration that implies tensions and that must express relationships between all neighboring stories, in such a way that changes somehow indicate the limits and common parts where all protagonists - in different ways, relate. So, the dynamic character of the books, are - in an atypical way, creating and feeding needs capable of maintaining attention during the time of reading and that is fluid, but is within the levels where subparts of the stories appear - by brief temporal state, in equality of resistance. They must meet the coordinates of the main theme and the many time intervals so that the characters' point of view can be considered. Please explain about these levels of tension of each of the characters - or the whole, which conceives the respect it offers the reader. It becomes evident that the fluidity of words can vary from one character to another within a situation or within the same character. Thus, keeping these constants structured - of certain micro stories, create an impermeability of limits that enunciate the concept of which it expresses in the theme of the book treated.

STORY TO BE TOLD

In the books, look for a significance that leads to changes in tension levels in the stories of support - those that it eats as micro stories.

These subparts of the main story have a dependency on which to consider the time intervals in which it triggers a fluidity of the characters. In this assumption, a single validity so that the tensions supporting the roadmap cannot be modified, and if they are, should contribute to some exceptional factors; so that the reader discharges in this development the tension that he happened to have as a goal in the story to achieve.

As far as you can reach, the story to be told, it is necessary to build elementary concepts that are in the construction of attention, to the needs of the protagonists. Introduce to do so, some necessary and conceptual elements to build an attention in the imaginary of the story.

Thus, coordinate what entitled almost needs that will feed the reader of possible deductions in a large number of possibilities that are attuned to the problems that should be investigated. These predictions of the reader can hardly be made without the author developing specific and dynamic theories, which can - particularly, prove to be of value in the story, which agrees and even surprise the confirmation of this thesis by the reader.

The differences in tension between the many private stories that correspond to the many characters and the themes not yet conclusive, require a kind of time interval to be completed and that goes throughout the book to create a series of tension lines. It is correct to assume that to keep the story, the author must create different tensions in the main script and in the partial supporting scripts that depend on the image of the psyche of each of the characters, and also that it has a sufficient rigidity in a rapid decrease between the various characters to maintain the reader's attention and the fluidity of the story. It is then a check of the conclusions where it should be reached so that it can be characterized and called for a reasonable state of increased tension that does not cause fatigue that justifies the abandonment of reading.

TENSION

Always consider alluding to ways in the story of destroying different sensations within the main storyline. In the personal themes that appear for the first time, they cause the character to grow motivated by a strong emotional tension provoked by a general exuberance of feeling. These emotional tensions - coming from a particular character, will lead, in order, differences of magnitude, to which it corresponds in relation to almost illusory needs. These must be stored in the reader's imagination so that the author of them will give up joining the bonds that are loose from the micro stories. There are other tensions in the story that need to exist in to differentiate their perceptible practices. The central plot may require sudden changes in the levels of all subparts of the book and these can completely destroy parts of the micro stories causing the plot to follow in another potential script line in order to differentiate and even tensions. These limits of permeability and elasticity must be elaborated in a way that guarantees sufficient assurance to the protagonists for a representation of their propositions. It is not at all important, but salutary, to involve - in their derivations, the spatial relationships of the various stories of support; these bring a degree of communication that mentions actions corresponding to each task completed or that is included in the individual experimental ties established and separated - to delight the reader. Subparts cannot be inclusive isolated units, because although separated from the great tension of the story's central theme, they must give up on continuing on for themselves. These different levels of story validation extension are smaller units that approach within the central storyline. One must therefore maintain powerful limits that are sufficient in the story as a prerequisite to be faithful to the contents in the existing tensions.

SOURCE AND ORIGIN

When the author is commenting on a true conduct related to the master line that guides all the resulting from the micro stories of a book, it must - necessarily act on the emotion that presses the persona of the moment of action. Therefore, it is always important to know the events that influence the conduct of the resulting micro stories, specifically the subparts of these that are established to lead to the resulting dynamics. The author must investigate in detail the guidelines of his story that lead the reader to recall the Sources of his origin and the departure instructions established in each character, and their corresponding tensions. An additional application that dialogues with the master plot must respect the activities of the reader's recall. In the reader there is a directed force of spontaneous recall, which is established in the corresponding tensions - especially those of interrupted tasks. It is difficult for the author to insert in his story forms that take some instructions that can approach the spontaneity with which the reader remembers the many losses that occur in the protagonists. These spontaneous forces of the reader will remain constant if there is on the part of the author an increase in induction of the tensions that map characters and their stories. One should not, however - say, force a bar of the characters; the author should let the reader experience the story - not as a memory test, but as a subject of a spontaneity, and even, bringing to himself the experiences they are having with the protagonists.

AGREEMENT

The writer must agree that the value content of his books depends on the fruitfulness of the analyses he imputes to his characters, to explain - in some way, known facts; and thus, induce predict those who will still come. It should often use - without much eloquence, of passages that aim to explain to the reader - that may lack a particular value of understanding, the facts known from the combination of subparts of the minor themes and thus define the advantages of a given plot through organizational resource. To a certain degree of the story, the author has to make some adjustments to the known facts so that the plot agrees with them until a certain point in the story. It is always good for the author to prove some experiments throughout the book; the simple reason for this is that it can make a difference and seem to be more real. In addition, it will allow the reader to interpret a substantial amount of information and easily classify it, and in them, include yours for the outcome of possible endings in the micro stories. This attitude - on the part of the author and reader, leads to a thesis for the central plot. The design that the author indicates in his plot needs to be based on many evidences that the author uses throughout the book; thus, determines predictions that show some of the unknown characters of its characters to the reader. These facts prove the nature in which the reader himself expects, based on his daily reading experience. In fact, the author must create a certain scale of time and experiment - in the text, carry out certain predictions of results opposite to the experiments he conducts in the main plot. However, these opposite assumptions must be in accordance with the conduct of the reader having the power to associate their emotions. These should remind the voter of the fatigue perceived by the addition of the character belonging to this field of action.

PLOT

The author of a book when he finds himself in trouble of - separately, dealing with the development of some structure of a micro story, should rely on the personality of the protagonist to which he drew. Experimentally it is unique to the construction that the author allows himself when he creates and uses a multiplicity of small themes that must be verifiable in the various stories that converge to the main plot. To the author's judgment he must demonstrate - sufficiently, the level of fertility in the construction of the theses he proposes in the plot, and thus ensure the continued interest of reading. If the author performs within the