I - ON THE ART OF WRITING
* when you describe a place, when you write a dialogue, you must be there, you have to feel there;
* write well is a matter of commitment, perseverance , willing to learn, experience, in short, we must do as the craftsman if you want to learn the craft of writing;
* It is important that the theme you want to tell us care about, write
* e. .. rewrite;
* be a craftsman of writing: patience, dedication, care,
* if you want to be good storytellers, it is very important to develop the capacity Observation of the people we meet or with whom we deal, knowing capture their traits;
* must never forget, as you write, to ask: do you see? What do you hear? There are scents, touch or taste?
* there can never be forgotten the existence of a particular filter, where our history has to pass through. This filter is the cultural background of the reader;
* must learn to enjoy the right time to see, watch, observe and then try to understand. This should give time to our readers;
* and we must develop the ability to look at things from unusual perspectives and such that we can understand what a better place or a character they represent and, by writers, transfer this attitude on the page;
* general advice: when you get stuck in our writing and we do not know how to proceed, a good way to unlock is to find the "easiest way";
* not succumb to the temptation of the autobiography: it is better to try to tell their stories, rather than its own history;
* The items for the writer's word choice is critical, and is particularly effective when we want to give meaning to the phrase without becoming didactic;
* the words we choose to be a dialogue appropriate to the character that reflect its pronunciation and cultural background, his mood and climate of the context in which it takes place;
* with words but you can also "play" using them, for example, to create contrasts, parodies, etc.. *
short, choose the right words is, for the writer, how to choose the right wood for the carpenter.
boredom
* The danger to avoid the danger boredom, the best thing to do is to work in a conscious aesthetic choices (ie on your style): for example by changing the point of view, very different strategy
* useful, is to reduce the adjectives and adverbs trying to show you what to say (do not tell, show);
* is good fight laziness always striving to find the right word;
* against boredom are very useful advice for Calvin to the "lightness" and " quickly "to find the first, you will need to work hard for subtraction, for the second priority will be well coordinated phrases rather than subordinate;
* The five friends of boredom:
1) predictability
2) the lack of direction ( a sense)
3) repetitive
4) the lack of significant events (nothing happens)
5) an overly didactic style (say anything)
* The seven enemies of boredom
1) multiple storylines that weave or even intersect, one of which will be the largest and the direction (sense) the history
2) changes in tone
3) the multiplicity of characters
4) a significant theme
5) the originality of the plot
6) the balance of shares reserved for those for the dialogues and descriptions
7) the presence of a guiding
* In addition to boring the reader, c 'The danger is that writing, at times, can become boring. This happens especially when it is too reflected on a passage of history that is now so well known that writing becomes only report what you already have a clear idea. In short, it's like going on a trip already knowing exactly what you will, the places you see, and also the tastes of food you eat. In practice, there is no taste. Better to start writing as soon as you have an idea consistent but not too defined.
It 'a lot' of trinkets boring to read, but sometimes we need to show that We pledge: D
Lucre 
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