Post by account_disabled on Jan 6, 2024 2:43:41 GMT -6
Even though some classics should be read by kids, I didn't read as a kid and so I started catching up a few months ago, reading a modern book and a classic together. I like Verne as a writer, together with Salgari he is a pillar of adventure fiction. Around the World in 80 Days is a novel that made me understand some aspects of creative writing that I hadn't thought about. I wonder if they are functional to all stories, but I don't think so. But they are elements that can be taken into consideration in a story, both together and separately. 1 – The motivation of desire We often talk about the inciting incident as the fuse that triggers the whole story. When I had talked about it, I had identified 4 types of trigger incidents and the protagonist's desire was part of that list. While I was reading Verne's novel, I asked myself: is it really enough to have a desire, a dream to realize to justify a story? No, Verne motivated that desire and the story had several interesting twists. Do you want to know this motivation? Then read the hidden part.
However, it is not a part of the story that will spoil the surprise for you. Spoilers for the novel about motivation The function of motivation It's like chilli on pasta: it makes the dish spicy, it excites more. That little, but not too much, motivation really made a difference in the novel. What do you think? 2 – The supporting characters In a story we must Special Data distinguish between the protagonist, supporting actors and extras . The supporting actor is therefore a sort of character halfway between the protagonist and the extra. In the old Zorro films, if you remember them, he was the protagonist, while the silent servant and Sergeant Garcia were supporting actors. The soldiers who always beat her up were just extras. In Verne's novel, however, Passepartout, Phileas' servant, becomes a sort of supporting protagonist: he has a fundamental part in the story and acts as a supporting character. The risk is that he overshadows the true protagonist, but in Verne's case this did not happen. 3 – The double conclusion The story proceeds along the path indicated by the inciting incident, but Verne inserts something that will later be useful. In a certain sense he was able to not reveal too much, so I had the final surprise.
The double conclusion is certainly not always necessary, but perhaps in an adventure novel it works. If I remember correctly, I also found it in some of Salgari's stories. But now let's move on to the spoilers. Spoilers for the novel about the double ending The function of the double conclusion In Verne's novel it was something inevitable or at least, considering the time, it was really the only thing to do. It streamlined the work of the writer, too, who otherwise would have had to find new solutions, one less credible than the other. 4 – The balance between light and strong obstacles We also know that in a story everything doesn't have to go smoothly, but there has to be some friction here and there: the famous obstacles, the setbacks, the characters who get in your way, the troublemakers on duty, the car which turns off when 200 zombies are about to reach you and so on. Reading Verne's novel I saw that there was a nice balance between minor obstacles and difficult obstacles to resolve. As usual, let's talk about it in the spoiler.
However, it is not a part of the story that will spoil the surprise for you. Spoilers for the novel about motivation The function of motivation It's like chilli on pasta: it makes the dish spicy, it excites more. That little, but not too much, motivation really made a difference in the novel. What do you think? 2 – The supporting characters In a story we must Special Data distinguish between the protagonist, supporting actors and extras . The supporting actor is therefore a sort of character halfway between the protagonist and the extra. In the old Zorro films, if you remember them, he was the protagonist, while the silent servant and Sergeant Garcia were supporting actors. The soldiers who always beat her up were just extras. In Verne's novel, however, Passepartout, Phileas' servant, becomes a sort of supporting protagonist: he has a fundamental part in the story and acts as a supporting character. The risk is that he overshadows the true protagonist, but in Verne's case this did not happen. 3 – The double conclusion The story proceeds along the path indicated by the inciting incident, but Verne inserts something that will later be useful. In a certain sense he was able to not reveal too much, so I had the final surprise.
The double conclusion is certainly not always necessary, but perhaps in an adventure novel it works. If I remember correctly, I also found it in some of Salgari's stories. But now let's move on to the spoilers. Spoilers for the novel about the double ending The function of the double conclusion In Verne's novel it was something inevitable or at least, considering the time, it was really the only thing to do. It streamlined the work of the writer, too, who otherwise would have had to find new solutions, one less credible than the other. 4 – The balance between light and strong obstacles We also know that in a story everything doesn't have to go smoothly, but there has to be some friction here and there: the famous obstacles, the setbacks, the characters who get in your way, the troublemakers on duty, the car which turns off when 200 zombies are about to reach you and so on. Reading Verne's novel I saw that there was a nice balance between minor obstacles and difficult obstacles to resolve. As usual, let's talk about it in the spoiler.