Turchi, P. (2011) Maps of the imagination: the writer as a cartographer [Versión para lector digital]. Trinity University Press
Capítulo 2: CHAPTER TWO
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Destacado: RTISTIC CREATION is a voyage into the unknown. In our own eyes, we are off the map. The excitement of potential discovery is accompanied by anxiety, despair, caution, perhaps, perhaps boldness, and, always, the risk of failure. Failure
Capítulo 2: CHAPTER TWO
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Destacado: and relatively few if any words are devoted to the nearly half of each day they spend sleeping and eating, dressing and undressing, trimming their nails, paying their bills. All of which is to say, even epic novels are silent about much in their characters’ lives. Short stories and poems are, correspondingly, surrounded by even more blank space
Capítulo 2: CHAPTER TWO
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Destacado: more scenic route, or a more familiar route, to the fastest. Our sense of a place is in many ways more important than objective fact.
Capítulo 2: CHAPTER TWO
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Destacado: choose our blanks, rather than simply omit parts of the fictional world that seem too large or complicated or bothersome to include. In realistic fiction, we need to be particularly wary of unintentional voids in our characters’ perceptions and thoughts. It is easier to write about a simpler world, one in which characters don’t think about, don’t imagine, everything we think about and imagine. The trouble is, unless we’re writing the book for a Broadway musical, such a world is distractingly, disappointingly artificia
Capítulo 2: CHAPTER TWO
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Destacado: while some writers may appreciate lists and categories, catalogs of options and examples, others resist the prescriptive, inclined toward analogy rather than explication, exceptions rather than rules. For those of us in the latter group, metaphor is as comfortable as a sweatshirt: sufficiently defined to serve as clothing, but loose enough to allow freedom of movemen
Capítulo 2: CHAPTER TWO
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Destacado: To learn how to read any map is to be indoctrinated into that mapmaker’s culture.
Capítulo 2: CHAPTER TWO
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Destacado: The need for selection means that every story contains, and is surrounded by, blank spaces, some more significant than others. When we create a fictional world, our decisions include geography, or setting, but also where and when a narrative begins and ends, who it involves and who it doesn’t,
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Destacado: Readers may not think of those absences. We read an entire novel in which no historical or national events are mentioned,
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Destacado: In a surprising number of novels, the characters are effectively jobless; they have been granted psychic vacations from work by the author. Their occupations might be named, but they have no employers, no colleagues, no pressing work-related obligations; which is to say, they live in a world very different from that of most readers
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Destacado: There is seven-eighths of it underwater for every part that shows….
Capítulo 2: CHAPTER TWO
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Destacado: if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them…. [But] if a writer omits something because he does not know it then there is a hole in the story. —ERNEST HEMINGWAY