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Today, as part of an entertaining post for the weekend, we want to make a small literary review. Thematic! Before that, we all discussed western movies and music, and we also need to talk about time-tested literature, as it seems to us. Especially since children's, adventure and really good books about the conquest of the New World are an inescapable topic. tell me, do you remember many such books offhand? I guarantee that most will call Fenimore Cooper, Mayne Reed and Jack London — we value Mayne Reed and London extremely, and we consider Cooper a classic, albeit unnecessarily boring and "corkscrew". Some sophisticated readers will remember Zane Gray, and maybe some other surname will come up if you were lucky and there were actually a lot of books in your childhood. And so, after digging into the clan childhood memories, we have collected for today a small review of the work of three not too well-known in wide circles, but undoubtedly great writers. In this review we will have four surnames and an overview of the most striking works, as well as the historical context of them. Our heroes of today are: — James Willard Schultz — James Oliver Curwood — Anna Jurgen — The Grey Owl (Archibald Bilaney) James Willard Schultz James Willard Schultz (1859-11 June 1947) was an American Indian writer. His books are dedicated to the Indian people of the Blackfeet, among whom he lived for many years. In fact, there is no artistic fiction in them. In the USA, it is not actually published and only the most complete literary encyclopedias mention it. This is most likely due to the "too realistic" description of the conquest of Indian territories by white Americans, which does not coincide with the official interpretation of events: Schultz was wholeheartedly on the side of the indigenous population, and this could not but affect his work. Why did this happen? And the weight is very simple — in 1878, barely twenty years old at that time, Schultz decided to settle among the Picanee Indians, who were part of the Blackfoot confederacy. Schultz lived with the Picanee Indians for more than 15 years. Having married in 1879 a tribal girl named Nataki, Schultz, who by that time had received the name Ap-i-kun, finally accepted all the interests and aspirations of the new relatives as his own. Schultz wanted to get to know the life of the Indians as much as possible. He mastered the language of the Blackfeet perfectly and spent a lot of time with the old people, listening to their stories about their former free life, writing down legends and legends. The writer's son, Hart Merriam Schultz, for the rest of the world, bore the Indian name Na-ta-ma-i, or Lone Wolf (1882-1970) — and the child was brought up like all Indian children. Subsequently, he became a famous artist. Until the death of his wife Ne-ta-ki in 1903, James Willard Schultz lived with the Blackfeet on their reservation in the province of Alberta in Canada. After leaving the reservation, he decided to tell the truth about the Indians, the truth that was carefully hushed up by most American writers. Schultz's heroes are not like the heroes of Fenimore Cooper, Gustav Emard or even Mayne Reed. These writers in their books usually paint Indians as either villains or some kind of fantastic heroes. Schultz's Indians are real people. No wonder he builds his stories on the memories of the Indians he knew and lived with. Schultz has studied the customs, traditions and way of thinking of the Indians for many years of his life with them. The language of his story is close to the figurative language of Indian legends. Schultz is the author of 40 novels and novellas dedicated to Indians, works of fiction unsurpassed in their truthfulness and knowledge of Indian life. Selected works: "The Mistake of a Lonely Bison", "With the Indians in the Rocky Mountains", "Eagle Catcher", "Son of the Navajo tribe", "My Life among the Indians", "Dangerous Trail". Selected works: "The Mistake of a Lonely Bison", "With the Indians in the Rocky Mountains", "Eagle Catcher", "Son of the Navajo tribe", "Dangerous Trail". A few covers for a snack: Here "With the Indians in the Rocky Mountains" we especially recommend, I must say. This is a story about how two boys, trapper's sons, were carried away from home by boat while rafting on the river, and then they wintered in the Rocky Mountains with the Indians. A harsh and very, very soulful text, it should be noted. A lot of writers— the same Cooper—have the notorious "cork helmet of the big white bwana" sticking out from behind every word. As you can understand from Schultz's biography, he never had this helmet. The writer is an anthropologist's delight, to be honest. We sincerely recommend it. The next hero of our review is Kerwood, best known among readers for the dilogy "Kazan", about wolves. But this author is not good with wolves alone! What is remarkable about Kerwood? And if you please. James Oliver Curwood James Oliver Curwood (June 12, 1878 — August 13, 1927) was an American writer and conservationist, author of adventure literature. Curwood was born in Owosso, Michigan. He dropped out of school without receiving a certificate, but was able to pass the entrance exams to the University of Michigan, after graduation he worked as a journalist and editor. Kerwood published the first stories as a teenager, but did not receive a fee for them. In 1909, he made his first trip to Canada. Throughout the rest of his life, he traveled for a long time in Canada and Alaska, where he collected impressions for his novels. The success of his novels provided the opportunity to travel to Yukon and Alaska for a few months every year. By 1922, thanks to his works, Kerwood became a rich man and realized a childhood dream by building an 18th—century house in his hometown - Kerwood Castle. Curwood was an avid hunter, but later became an advocate for wildlife, including he fought to shorten the hunting season, and in 1926 became a member of the Michigan Commission on Environmental Protection. In 1927, Kerwood went to Florida. While fishing, he was bitten by a spider, which caused an allergic reaction, blood poisoning and death. Curwood was buried at Oak Hills Cemetery. He is remembered at home. Now there is a museum in the Castle he built, where annual celebrations in honor of the writer are held. During his short life, he wrote more than 30 novels. The most famous of them are: "Kazan", "Grizzly", "Vagabonds of the North", "Son of Kazan". His novels continue the best traditions of European-American adventure literature, in particular the works of Jack London about the North. The main characters of his novels are wild animals in the wild (wolves, dogs, bears, etc.). Several novels have been translated into Russian by Mikhail Chekhov, the brother of the writer Anton Chekhov. If you want to read about the North of the New World, about the Canadian lands, about wildlife - this is your choice. Kerwood's people are simple and courageous, nature without excessive romanticization, as it is ... but infinitely loved by the author. The level of corkscrewness is also minimal and allows you to read with great pleasure, without wincing from bias. Yes, this is the view of a white man — but a man who truly understands what he is writing about, included in the life around him. And, the truth is, besides the "Cauldron" he really has something to read! The bibliography is very extensive, see for yourself (the list is not complete, the full one is on FantLab, here is the most famous): 1908 - Мужество капитана Плюма (The Courage of Captain Plum) 1908 - Охотники на волков (The Wolf Hunters) 1909 - The Great Lakes 1909 - Золотоискатели (The Gold Hunters) 1910 - The Danger Trail 1911 - The Honor of the Big Snows 1911 - Steele of the Royal Mounted 1912 - Северный цветок (The Flower of the North) 1913 - Isobel: A Romance of the Northern Trail 1914 - Казан (Kazan) 1915 - God's Country and the Woman 1916 - The Hunted Woman 1916 - Гризли (The Grizzly King) 1917 - Сын Казана (Baree, Son of Kazan) 1918 - The Courage of Marge O'Doone 1919 - Бродяги Севера (Nomads of the North) 1919 - The River's End 1920 - Back to God's Country 1920 - Долина безмолвных великанов (The Valley of Silent Men) 1921 - God's Country - The Trail to Happiness 1921 - Золотая петля (The Golden Snare) 1921 - Пылающий лес (The Flaming Forest) 1922 - The Country Beyond 1923 - The Alaskan 1924 - A Gentleman of Courage 1925 - Старая дорога (The Ancient Highway) 1926 - Молниеносный (Swift Lightning) 1926 - Чёрный охотник (The Black Hunter) 1928 - На равнинах Авраама (The Plains of Abraham) 1929 - The Crippled Lady of Peribonka 1930 - Green Timber 1930 - Son of the Forests 1931 - Falkner of the Inland Seas Anna Jurgen (Muller-Tannewitz) Anna Muller-Tannewitz, nee. Tannewitz (August 18, 1899 in Immekeppel — 1988 in Bad Urach) was a German youth writer, author of adventure novels and children's and youth literature. Her most famous work (and the only one translated into Russian) is her debut novel for young people "Blauvogel — Wahlsohn der Irokesen (The Blue Bird is the Chosen Son of the Iroquois)", which tells the story of a nine—year—old white boy, the son of God-fearing colonists, abducted by Indians from colonists during the French-Indian War (North America, XVIII century), who grew up among them, and was brought up as an adopted son. The boy recognizes the truth of the white settlers and the truth of the Indians, but after being forcibly returned to his "white family", he can no longer return to his former world and returns to the Iroquois family. The book served as the basis for the script for the 1979 feature film "Blauvogel" by DEFA Film Studio, which was also released in the USSR under the title "Union of the Iroquois Tribe", and the 1994 ZDF series. What about the author? Anna Tannewitz was born in the Rhineland in 1899; during her school years, the family moved to Berlin. After graduating from high school, she began studying medicine in Heidelberg, but soon left her studies. At first she worked as a librarian in the Prussian state Parliament, later — in the national education system in Berlin, was engaged in the creation of youth libraries. The writer took several trips to the United States, where, in particular, she got acquainted with the culture and history of the Indians. In 1936, she married a scientist, a specialist in the study of the history and life of North American Indians, Werner Muller (1907-1990). Later, she studied literary history, ethnology and newspaper journalism: she wanted to write "Indian stories" for young readers on scientifically-based data, which is a commendable path and causes our complete admiration. Anna Muller began writing books for children in 1945 . Her first book, the novella "Das Indianermädchen Pocahontas" (Pocahontas) was published in 1948. She began work on her first novel already in wartime. For this novel she received in 1950 the first prize at the competition of the Ministry of Public Education of the GDR for the creation of new literature for young people. Later, more than 10 more novels were written. Although she published The Blue Bird under the pseudonym Anna Jurgen, her other works (including most books for teenagers and youth and about teenagers and youth; mostly her characters were Indians) were published by the author under a real name. She also used the pseudonym Stein Holm — if you read in foreign languages, read it by all means. "Georg the Blue Bird" by Anna Muller-Tannewitz, the only work available to us in Russian, is an excellent and extraordinary book. He wrote with love for the material, great attention to detail and highlights the most unexpected aspects of human relationships. The story of the growing up of a boy who became a "white Indian" is extremely interesting. It is especially interesting because it is based on the most historical fact: Indian tribes, whether they are Iroquois Northerners, Comanches in the south, or other tribes (their names cannot be counted!) quite freely accepted non-Indians among the "sons of the tribe". And not only children — whites and blacks (especially in the south, yes, in Texas and Oklahoma) of various ages often became "named Indians" and not only because they were captured. Every prisoner of war for an Indian is, first of all, a servant, a worker, almost a slave. They could become part of the tribe, of course — for this, of course, it was necessary to prove that you were worthy of the name of a free man. In a sense, it was easier for children - they could have been initially trained for the role of sons of the tribe, as happened with the hero of the book. However, adults often voluntarily adopted Indian names — an example of Schultz, or the poet, writer and national activist Gray Owl, and this is the fourth hero: The Grey Owl (Archibald Bilaney) Grey Owl (English Grey Owl, in the Ojibwa language Wa-Sha-Quon-Asin — The One Who Hunts At Night; real name Archibald Stansfeld Belaney; b. September 18, 1888, Hastings, UK — died April 13, 1938 — Canadian writer of English origin. The son of a drunken farmer, Archibald has been fascinated by stories about American Indians since childhood. Convinced that his British relatives did not need him too much, in 1906, the 18-year-old Bilaney left for Canada. Initially, he seemed to be going to study agriculture in Toronto, but soon went to the north of Ontario, where he lived among the Ojibwe (Chippewa) Indians. He married an Indian woman and began to call himself an "Indian", taking the Indian name Gray Owl. He told others that he came from the USA and that his mother was from the Apache tribe. Gray Owl was a forester and trapper hunter and lived in Ontario until the outbreak of World War I. Author of many articles, essays and several novels: autobiographical "The Men of the Last Frontier" about the initial period of his life in the woods, and three fiction: "Pilgrims of the Wasteland" ("Pilgrims of the Wild"), "The Adventures of Sajo and her beaver people" ("The Adventures of Sajo and her Beaver People"), "Tales of an Empty Cabin" ("Tales of an Empty Cabin"). Grey Owl also illustrated them with his own drawings. The mystery of the Owl's origin was revealed only after his death. The writer was twice married to Indian women, and he also considered himself a native Indian. There were among the "rooted Americans" and people of the simplest fate, warriors, hunters and ordinary inhabitants of the American prairies and forests, who did not leave an artistic trace. These "adopted sons of the tribe" fought with the enemies of the new family along with others, and often struck their named relatives with ferocity and a cool temper, which, as you know, is a very difficult thing: to hit an Indian with ferocity in battle, because "native Americans" of that time are people of very simple and sometimes cruel morals, and they always knew how to fight. Thus, the "adoptive" in the tribes often turned into more Indians than even the Indians themselves. This, by the way, is not too surprising — after all, someone for whom the new identity still seems too fresh will be more zealous about their own compliance with this identity. And this has become a habit over the years. Not born with dark smooth skin, thick black hair and a specific cut of the eyes, such a person constantly mentally reminds himself — I'm like them, I'm the same. And he tries to be the best in everything that concerns "indianness", of course. We find this fact amazing and wonderful, to be honest.

Good evening/afternoon/and maybe even morning, gentlemen! Perhaps you expected the continuation of the post about "ethnographic fantasy", but life is making adjustments - now Eirik Godvirdson has two texts of a rather large form on the agenda of active work in parallel (one of which is a direct continuation of what is being prepared for publication in paper) and publishing issues themselves. All this requires time and mental strength, with a fairly large amount. As well as writing articles on craft and art in literature - journalism is no less important to us than artistic texts, and we do not want to work on it at all, according to the residual principle. Therefore, for the time being, we will suspend writing the cycle of the name of a Non-cardboard Hero - and pay attention to just the current news. We thought about it a little bit - and decided that all this near-publishing cuisine, which usually remains behind the scenes, can also be quite interesting to people who have no experience in communicating with the publisher, so we will cover the news on the publication process of our book "Adventures at the Red Creek Ranch" as interesting news arrives Well, gentlemen, we report: one of the important stages of preparing the book for publication - work with proofreading and editorial edits - has been completed. It was interesting and informative, and required a lot of attention - maybe later we will tell you in detail about the subtleties of proofreading on the part of the author, if you are interested, of course. What will happen next? Next we are waiting for the layout. The layout is a fully made-up and marked-up electronic version of the book, with a cover and all the illustrations, with various chops, vignettes and all that - everything that will then fall on real paper pages. It will also need to be viewed, subtracted with the author's eye and tracked so that everything is as it should be. The layout is, in fact, the first acquaintance with the future book - not the text (which the author can quote by heart in places after many auto-edits, deductions and edits), but the image of the book. When the layout is ready, it will be possible to announce the finish line - so we are waiting with a very working mood: the terms of the author's proofreading and approval by the author of the layout are regulated in the contract, and for us, for example, it is two weeks. Зit all sounds very, very businesslike, doesn't it? Yes, of course. But this is also a very, very creative work - however, it requires maximum care and concentration, So we are waiting for the layout during this month - and then we will dive into working on it. You need to understand that working with a publisher is always a collaboration, which means that the first and most necessary skill here is the ability to convey information to the person working with you in parallel. The most important skill, I would say! Here, in general, the news we have is as follows. But the post is not all about it! Yes, we also put some "+advice" in the title - so, it will partly be related to the previous paragraph. Indirectly, but still. And it sounds like this - if you really write, and you want to continue doing it, and do it successfully, fruitfully and with certain prospects for the development of this path for yourself, then our advice is: try to get rid of excessive exaltation in your work. Believe me, it is not necessary either in the process of writing, or even more so in the process of subsequent work on the text, whether it is the first rough auto-editing or thoughtful and attentive proofreading of an almost finished layout, to run around the ceiling, talk to the reflection in the mirror, stick to the walls and heating batteries with long, heartfelt monologues. It's just not worth it. Do you know why? Because it takes time and effort. Running around, talking with inanimate objects and unrestrained emotionalization (about and without) of these forces and time takes a lot. You'd be surprised how much. And these are important, useful and valuable resources, which are always sorely lacking for any creative person - especially if he still has some other, non-writing life in parallel. We - Eirik Godvirdson-have. And the so-called "normal job" (which is necessary, of course, to live, and not to live to work), there are friends, family. There are also several hobbies - not "a few more", but just a few hobbies. Because writing is not a hobby for us - it's a business. No, the BUSINESS. Like a work, yes. No less important. And what we don't have is time for exalted races, which are, in fact, a form of creative procrastination. How to deal with procrastination and the painful state of "I don't want to or can't write" - we told here, from our own experience, of course, but what helped us can help you! This, of course, is not the only way - however, almost never, in our memory and our experience, those very exalted races did not help. They can almost not interfere, or even bring pleasure - however, the fact remains that they absorb time and energy like a black hole - light and any energy in general. But this is such a "thing in itself" - and it has very, very little in common with writing as a matter of fact. Such things, gentlemen. Finally, here is a drawing with a prospector looking for gold. This is one of the drawings that will accompany the historical reference in a future book. Hard work, as this prospector tells us, is the key to success. Well, there is no reason not to believe this statement!

You know, I really live almost in the middle of the forest. Well, what happens, you say... but it seems that people suspect something! A journalist got lost here not so long ago in the snow... what he wanted is unclear, he says, gonzo is fond of photography, again, a worthy hobby... only here he lost his notebook, and there, gentlemen, he found a draft. Articles. Not a photographer turned up to me, oh not a photographer! The secret article that the guest wrote is given below. An opportunity, gentlemen! "Who is this E.G. of yours? here's what I managed to find: further, a brief biography of the writer E. G., compiled by me, Sk The writer Eirik Godvirdson was born in September 2013 among the taiga swamps on the territory of the village of Surgundat abandoned by the population. He has been writing since his birth, mostly in his own unique genre, "bloodshed, but life is still beautiful." He appears in public as two different people, but in his true form he is a bear with a balalaika and a volume of Heidegger. Lives among the taiga, in a swamp, in a zone of difficult transport accessibility, coordinates [DATA DELETED]. " It seems to me, or should the data really be DELETED? And the sponsor of this post is April 1, gentlemen!

Have you heard the phrase - consciousness determines being? Or maybe you have met the opposite statement - that, they say, being determines consciousness? Mysterious, isn't it? It is mysterious, but in moderation - the first version of the phrase about consciousness and being means that the way a person lives will inevitably affect his way of thinking. and the second one claims that just the same way of thinking is able to change the way of life. So, being and consciousness are one of the most difficult questions, and let's try to figure out which one of them still defines? And most importantly, why should we understand this, and what does some kind of "ethnographic fantasy" have to do with it? And that's what it has to do with. Good morning, not a cardboard hero. Open your eyes. What do you see? Where were you born, hero? Who are your relatives? - we asked at the very end of the last post. Do you know why? Because heroes, like ordinary people, do not suddenly fall from the sky. They were born, grew up to the age when it was time to get acquainted with the reader, and for some time they quietly lived their lives, yes, until the very moment when they got into the author's and reader's imaginary lens. And this is exactly what will determine to a very large extent what kind of hero is in front of us. And the joke in the phrases about consciousness and being is that both formulations are right. It's simple - at different levels, depending on whether we mean the macro or micro level. The macro level - the global, all-encompassing level - will be fully described by the postulate that the environment and lifestyle entirely create the basis for building the personality placed in them. Especially - placed from birth. And the first level of reliability, as we concluded in the last article, is just that - global. Ethno-cultural. Why ethnocultural? Yes, because in a normal living world there are always DIFFERENT peoples one way or another. They are different because the world - a plausible living world - is also diverse. It is difficult to expect that people living in the snow or mountain gorges will be the same in character and perception of the world as the inhabitants of the south, green plains, arid desert. Do you know why? Yes, because if someone sees nature and weather of a certain type from birth, tries to live with this environment at least in relative harmony and follow its natural cycles and take into account the peculiarities, he gets a specific experience peculiar only to this area. And, having passed through the prism of the human psyche, this experience gives absolutely certain fruits: similar for the whole people at once, because the conditions are the same, and the laws of the work of the psyche, plus or minus, coincide with all representatives of the same biological species. Individual variability also takes place - but these are subtle elegant touches, which we will talk about later, because they relate to the "micro" level, and this is the topic of the next conversation. So what is it? Especially important is the ethno-cultural level of elaboration of the image of the hero - heroes - it is worth recognizing it for fantasy. As a rule, the fantasy world is populated by a bunch of fictional peoples living in fictional countries and living in fictional cities - and this is good, there should be quite a lot of fictional peoples, and different ones at that. After all, what is far to go – take a look at our real earthly world! There are also a lot of very different peoples in it, which often look no more like each other than the notorious dwarves look like no less notorious elves. Which means what? So, indeed, the peoples of the fictional world should differ from each other, and not at all nominally, by the name there, and the color of their hair, or ritual bast shoes. braided in a special way. No, let's put it bluntly - "force does not work like that" (c) The differences should be much more serious. At that very existential level – because these peoples – do you remember, "the echo of centuries under your feet"? – they did not develop overnight. The peoples in the fictional world have exactly the same long, centuries-old, complex history as the peoples of the real world. Ideally, it should be, you know? Yes, this story is completely in the author's head and drafts, and it does not necessarily have to be dumped on the reader in its entirety. But you have to think about it as an author, that's what I want to say. think about it, outline it in your head, remember about it. About history and culture, customs and habits. Echoes of this heritage will have to be read here and there in the description of the life and disposition of representatives of the people. Let's say your hero is from desert nomads, or mountain northern hunters, or he is a sailor in the subtropics... it doesn't really matter which example to take. The only important thing is that the hero, like any normal person, remembers the fairy tales that he was told in his childhood, remembers perfectly the songs that his comrades sing on vacation, hears every day a speech replete with peculiar, understandable as it should be only to people born in name_these lands, jokes and words ... it all inevitably affects the way he will think himself, how to think, how to act accordingly and express his feelings, of any kind: even friendship, even enmity, even love, even compassion ... because the hero is used to, that people like him show these feelings and act in certain situations name_tak. This is the work of the so-called cultural code, the very ethnographic originality. And it is hellishly important for creating a truthful, logically consistent and plausible fantasy world in terms of structure and population. Your hero, of course, may turn out to be something different from all his fellow tribesmen - and even most likely this is what he will be interested in. Then it will be very important to highlight this difference correctly and successfully in the narrative, the choice of tools here is already to your taste: will you create a situation or just emphasize the mental movements of the character, add a scene or description? Everything is in your will, the author. Or he, the hero, may not be the same as his fellow tribesmen in someone's representation inside the book world - for example, the representation of another hero with whom fate will push him in life, or rather you, the author. All of this may even have to be the subject of careful author's work on the non-cartonality (read - the verisimilitude of life) of the characters. But we will come back to this point. What do we have as a result? The fact that a living and detailed world needs a variety of inhabitants that differ from each other, we have figured out. But listen, they say that it is almost impossible to invent something fundamentally new... and is it possible at the same time to focus on quite real earthly prototypes of cultures? Can. It is possible, because otherwise it will not work. It is often not only impossible to invent something fundamentally new. but it is also harmful, because it generates an anarchic and indigestible mixture. So it is possible and necessary to take known samples as a starting point. Only you need to handle the source material very wisely. In no case can you just mindlessly copy - simply because at best a deliberate cranberry will come out, and at worst a chaotic collage of multicolored pictures poorly mounted at the edges. If your task is just a humorous "cranberry" - feel free to go ahead, take the brightest and funniest manifestations, and highlight them with humor and characteristic situations! But - remember about the sense of proportion. Measure and moderation are the main principles of European aesthetics (as opposed to lovers of everything Japanese), to our taste) Therefore, the peoples, even in some ways consciously copied from the historical real prototype, must meet another criterion, the name of which is "originality". What do we mean by this? And the fact that the people you describe will not (should not be in any case) be one hundred percent twin brother of something already existing. Simply put, it is not copied from some other book or history textbook. just because- remember? - being determines consciousness. And the existence of the people in your book is still somewhat different. At least in the fictional world they will have other names of mountains and rivers around, other peoples-neighbors and other relations with them. and the people you have invented may not have, say, Christianization in the historical context. Or communication with the peoples-speakers of the Semitic group of languages. And they didn't read the Bible. And therefore they will not be able to quote it, they will not give names with biblical roots to each other. And the names of some phenomena given in honor of characters from books, places and events that are absent in their reality will also be alien to them. If you need so much, say, that your heroes mention the "Eleusinian mysteries" in conversation, think about transferring the whole city of Eleusis (Elefsis now) and a specific manner of celebrating a certain date to your world, for example. Every nation you have created should have this very cultural background, it should be original, consistent, and at the same time you should remember that peoples communicate with each other throughout history. They are friends and enemies, trade, travel... Therefore, you need to think about how close the contacts of each of the peoples are. What is the idea of the neighbors of a particular ethnic group? Under the influence of what it was formed in this form? You should have an answer to these questions before you start writing, and yes, it's difficult. However, this is where the key lies - why some authors have all the described people, peoples and the world as a whole exactly alive. you believe in him immediately and completely, and some here and there stick out "white threads" of inept stitching of "spare parts" of the do-it-yourself designer trained from everywhere. Therefore, there are a lot of typical elfognomes, horned-helmet "Vikings" and helmet-flashing Greeks-in-sheets-on-the-naked-body, the same type of barbarian northerners, insidious thin-moustached Arabs with a stupid accent and no less the same type of bland, like a church wafer, monks. Cranberries served with a serious face - could there be anything worse? Can. perhaps. When this is done not even for lack of skill, but for criminal negligence: "and so it will do," they say. It won't do, don't hope. Therefore, remember the main thing: your heroes are real people, albeit fictional. And living people are born from dad and mom, they have relatives, there is a family history, there are roots and a long tail of the genetic code. And cultural, national, natural, social and any other environment. And all this puts its own shade in the overall palette, yes... but at the same time there are the main, leading color notes. Everything else is shades and background. You will have to draw a portrait of your non-cardboard hero, as an artist on canvas in oil, in stages: the ground and the general background (ethnography, culture, history), the under-painting (family and the history of social relationships), contour and general volumes (physical data)... then you will take the tools thinner and thinner, work out the nuances, the play of color, shadows, highlights and the finest curves of shapes. but that's later. First, understand where your hero belongs. Where was he born, what did he love when he was little, and who did he call relatives? Good morning, hero, tell him. And add: I mean, where are you from? I can see it in your eyes, the color of your skin. facial features, and most of all - by the manner of bearing. I can hear it in your voice. And you mentioned it. It seems to be the glorious city of Corfu, am I right?... This concludes the chapter. Next time we will analyze the terrible beast of anachron) No, not the magnificent book by Elena Khayetskaya - although she is totally worth it. We'll just talk about the authenticity of historical heroes. There is something to talk about there, although not as big as it turned out today. See you soon, gentlemen! the image is taken from open sources on the Internet

So, we are starting a new series of articles - as promised. The previous cycle was devoted to the world inside the book in the most general and general description; we can say, the world order and world description as such - but the world is always, whether we want it or not, but just a stage on which the characters will play the play of their lives and adventures. The main thing after all (if we follow the classical approach, of course, and we are more committed to it than to any other) is who the world is inhabited by, who lives in it. People of this world. Conditionally, we will say exactly this - "people", and how much they are really biologically identical to the genus homo sapiens in one or another story is not so important. We, recall, use the word "people" precisely in the meaning of humanistic and philosophical. not biological. In fact, at least the notorious "bug-eyed aliens" may be there, it doesn't matter. Our current conversation should be called something like this: "Confidence levels: Ethnography and culture". Or "About the population of the world created in the book - in more detail." because, first of all, we were going to talk about cultural studies and ethnography of fictional worlds, and how to use wisely and skillfully knowledge about cultural studies and ethnography of a completely real world, but we thought... And in the end we decided that we would take a bigger angle of view and outline the widest possible horizon, and therefore our "Non-cardboard hero" is a series of articles from several chapters. Why not a cardboard hero? Пbecause no author wants to hear about his heroes that they are cardboard. The accusation of cardboard characters is the most common and the most offensive. And at the same time - the most general, non-specific. These accusations are equally easily thrown by "couch experts" and venerable lit critics. The label about the cardboard of the described people is a terrible dream of any fiction writer, perhaps. And let's figure it out, what kind of cardboard is it at all? How to determine whether a cardboard hero or not? Well, let's start from the beginning. Cardboard characters, that is, flat, expressionless, inanimate - they are like bad actors in a movie, spoil even a brilliant script with a bad game, and even more so negate painstaking decorator and artistic work. Last week we talked - the script as applied to the book is your plot plot. Actors are heroes, characters. Cardboard heroes are, simply put, heroes of the not-so-true-e. Themselves, time, place, situation. What is authenticity? About this phenomenon itself, without practical application to the situation, we, perhaps, will not argue - it has all been told before us, many times, and we will not repeat what has been said. Let us briefly recall that reliability can be internal and external. External is, let's say, compliance with human simple logic, the laws of physics and the principle of reality (if this is theoretically permissible, this case says, then it may well exist - an object, phenomenon or situation, it does not matter) and internal reliability is when the described is anything (character, phenomenon, situation, again the same) do not violate the "rules of the game" and conventions of the described world set by you yourself, as the author. And so. The non-cartonality of the hero is its authenticity and viability. At all levels at once. Both external and internal. When we talk about living personalities - the characters of our stories - the inner authenticity, upon closer examination, also turns out to be a multidimensional structure, layered like that onion, and never easy to dissect. But we'll try to figure it out - since we're here. So, the inner credibility and vitality of the character - what does it consist of? We thought a lot, and identified for ourselves such points, or levels, of the character's credibility: - ethno - cultural - historical - contextual (situational) - psychological - emotional and sensual What follows from this? That the author should remember at each of the levels what their hero is. Completely, completely, completely. Who are his relatives. How many roads, and which ones, the hero has passed. Whose blood flows in his veins, with whom and where he grew up, what he is used to, what he thinks is right and what is not, what the hero knows and what he does not know. What the hero thinks so. about something like that. What of this the author should mention, showing the hero, and what - leave the reader to guess, giving, however, a sufficient number of hints. And then, of course, more - how to do it as fully as possible? what to highlight and what to leave in the shade? If you manage to cope with this complex tool - work on the levels of authenticity of the personality - then even the most malicious critic will not be able to accuse your hero of cardboard, believe me. But - it is impossible to neglect at least one of these levels in any way. Otherwise... cardboard, chewed paper, I don't believe it. I don't believe it, game, nonsense... what else do evil-tongued critics say there? In general, this is all offensive and biting - it risks being a completely truthful remark. Why are all levels important? Because a living person (and therefore an ideal non-kart hero) is always something whole, and it is always more than the sum of the parts. And only after working through them - the levels, of course - all in detail in your head, you, the author, will be able to build their relationship in a consistent and understandable way. Non-cartonality is a vital certainty, which in fact is a multi-level system. Often novice (and continuing) authors fall into the trap of what I would call the "deception of the emotional fountain" - such authors believe that super-emotional, tormented from all sides by different motives, emotions and impulses, the hero will never seem cardboard. Alas, but no. Easy. It will be a hysterical unbalanced cardboard box - a cardboard box with emotions that will also seem fake and unreliable. Therefore, in the next chapter we will begin to understand each of the levels of this inner certainty. And to understand how a hero is born as a person - and not a colored piece of paper with a set of ticks against a list of qualities. And we will say to our non-cardboard hero - good morning, welcome ... "do you know how they were waiting for you here!?"(c) Good morning, non-cardboard hero. Open your eyes. What do you see? Where were you born, hero? Who are your relatives? The first level of authenticity is ethno-cultural. We'll talk about it in a week. *the image is taken from open sources on the Internet.

This will be a transitional article. She will complete a series of conversations about the world in books - and at the same time begin a new chapter of our literary research. Today we will talk about cinematography in books. This very word - cinematography - is very ambiguous. The characteristic described by him can be both a huge plus and a minus. At the same time? Or, rather, in parallel? And not this way or that way - but rather - depending on what kind of cinematography is meant. Let's not rush, perhaps, let's figure out why it even occurred to us to compare movies and books, moreover. that these are two generally different genres of narrative art. Cinema is mostly visual. And a Book - a book is still primarily a word. And yes, the visual image and the word-image have many similarities, it cannot be denied. Only here the subtle internal patterns of the work of these two types of narration are different. And no, we will not now issue a sacred accusatory cry, following the example of the inhabitants of well-known literary associations ("the one whose name is not called", because the name is not so important). Yelling: "The laws of screenwriting don't work in books!"you won't wait. We do not suffer from a craving for incorrect generalizations, so still no. Sorry, but - they work. The laws of screenwriting, telling about the simplest and shortest way of revealing the hero and his individual path of becoming, work. They work in the cinema, they work in the theater, they work - with effort, but yes! - even in books. Otherwise, they would not be these most universally recognized laws. As George Lucas said - stamps work. That is why they have become stamps - because of their versatility and reliability. But - no, books cannot be written according to genre patterns and manuals while waiting for scripts to be created. Why, if they work? But because their work is extremely specific. And this specificity - completely and completely sharpened for visual storytelling - is completely ignored by many fans of working on books based on scenario patterns. They forget that one frame of a movie can sometimes require five considerable paragraphs of text. They forget that emotion in the camera and emotion on paper require different visual means. Or-which is sometimes even worse-they don't remember it at all. What will happen then at the exit? A sluggish and bland "flatbread", a kind of narrative semi-finished product. After all, the thing is - the script is always a semi-finished product. That's why it turns out that "scenario methods don't work," allegedly. And it's not about working or not. The point is rather that a semi-finished product is never equal to the finished product. In the cinema, this bland semi-finished cake of the script will be covered with bright colors of acting, camerawork, director's accents. The work of decorators, masters of special effects, costumes, makeup, music... God. We almost never think about who is the author of the script in the movie we are watching! Last names. those who will be interested are just directors and actors, artists and musicians. So why then can the book be served with a bare bone, eh? This is also a narrative of a different genre. If you bring to the end the comparison with the filming process - the author himself becomes a voiceover crew. and actors - actors are your characters and the events described by you. You - if you are a novice author - can write yourself a script according to the manual - only this script should remain in your "drafts and plans" folder Because, of course, it will help you very, very much. Only it will not be a finished book - rather a detailed and detailed synopsis. And based on this synopsis scenario, you, as a writer, will play your own movie: with vivid artistic techniques. deep details, creating an atmosphere.... with all that wealth of visual means that are specific specifically for the text, for literature, for the book. Here lies the main wisdom of using patterns, stamps and manuals - they are able to give only general touches. remember this - and take working and useful techniques from any toolkit. Do not hang blinders on your eyes voluntarily - they say some editor there said that the "Thousand-faced Hero" of J. Campbell * "does not work" or, even worse, is morally outdated. No, no, and no again. Just remember - a bare skeletal construction on the site of a future drawing should never be given out as a finished work. That's all. A writer needs to study stamps. Know them. Understand their internal structure. There is no need to climb out of the skin, inventing a fundamentally new one - there is an opinion that this is technically impossible, because the laws (purely medical) of the functioning of the human brain and psyche are the same for all of us. to create your own, it's enough just not to be afraid to move away from the patterns. Details and details, the individuality of the presentation and different angles of view on the same eternal figures and motives - that's what will make the narrative alive. So what's with the cinematography then? At its best, this characteristic will mean that the reader has everything described as alive, played before the inner eye. This, by the way, is in many ways also a specific skill of the reader: so immerse yourself in the text. Cinematography for a book in this case is the potential ability to draw the reader into a fictional world and fictional events, to present them in such a way that an enthusiastic reader will want to see it all with his own eyes - in imagination, in drawings or in a movie. In a negative way, "cinematography" will mean the template of the presentation, the clipness of the cutting of the narrative itself and the bones of the supporting structure sticking out here and there-the plan, that is, the "script" that is underprocessed. This clipped clumsy cutting also cuts the eye in the cinema, interfering with normal perception, so here we have taken cinematography in quotation marks, and not by chance. By clipping , we propose to understand this - the presentation of information in short .often in isolated chunks .without a clear internal connection between them. Actually, it harms any type of narrative, to be honest. Well, the third - neutral - part of the concept of cinematography will probably be like this: this is the potential possibility of staging the plot of the book on stage or on the big screen. A good book can be built on the basis of a speculative "scenario" - such, for example, is Stephen King's "It". This is inevitably evident, because the author spent his entire youth at various seminars of the scenario-book kind - and by the way, from our point of view, the screenwriters very much unwound the two time lines of the narrative in vain, placing them in different parts of the film: initially they were woven together, their separation did not benefit the depth of presentation of both characters, and plot. A good book can spit from a high bell tower on scenicality and cinematography as the goal and at the same time the basis of construction - and be perfectly written out from a visual point of view, giving rich material for film adaptations, like almost any classic book, from Dostoevsky and Dumas to Dickens and Bulgakov. And what does this have to do with, you ask, a topic with a depth of study of the world. if everything we said above refers specifically to narrative as a process? And here's what: from the above, the conclusion follows: before you break the rules, and therefore create freely, talk about the world and heroes like this. as the soul asks, these very rules should be studied. Carefully, meticulously and with all the immersion. It's like stylization in drawing - before you stylize anything, distort proportions, colors, etc., you have to learn classical techniques. Natural living proportions and laws of chiaroscuro, volume and shapes. You can only break and change to suit your artistic needs what you know very well: then you will be able to control the effects and set their direction. to achieve from the work exactly the effect on the viewer / reader that you wanted. This is where we will conclude the conversations about the depth of the study of the world - and summarize with this: remember that classical techniques are therefore classical. that are time-tested, and work. Love and appreciate this experience - and do not hesitate to resort to it. This, by the way, will be consistent with the same Far Eastern philosophical principles of beauty that we mentioned once: there is no need to artificially complicate the simple and trouble-free. Being critical of Eastern (Japanese) thought and in many ways not sharing it, we will say this for ourselves: it is not always necessary. And only sometimes it is still possible: let it be like an addition of a tart seasoning, which requires only a couple of grains. Don't overdo it, the main thing. Generosity without waste, courage without dash, freedom with an understanding of the basics and principles of construction - this is our motto in creativity. That's how we work on describing our worlds - and if our experience helps you, well... let everything work out! Meanwhile, a PDF document with the same Thousand-strong Hero is waiting for you at the link with an asterisk "*". This is our little gift to you, and have fun reading!

Yes, he is the one today. With which we congratulate you - and in honor of the holiday there will not be a critical or literary article, but just a short reminder - why we write. A reminder more to ourselves. We write to tell about the world... about the worlds. About fictional ones - and yet, in the end, more about the present, existing: what is around us. We write to tell people about people. Alive, real, able to love and hate. About the strong, about the weak, about everyone., about people who are trying their best to be human. We are writing to overcome the growing crisis of humanism in our minds. We write because it is impossible not to write in our case. We are writing so that you can count. And we write because the power to write is given by forces that everyone is free to call whatever they want - gods, fate, providence, the will of the ancestors or something else. But we have no right to let this force down. Once it is given, we will write Art forever. And humanistic values too. Happy holidays, colleagues and readers. From the bottom of my heart!

Let's return, perhaps, to our literature-kitchen, gentlemen. We talked about the details (we even talked twice, and productively) and about the "entry point" - about those things that, when you get acquainted with the world inside the book, make you believe in it. But there is one more thing that you will not see, touch and describe as easily as sunrises, sunsets, people, mountains, a river... You can't tell as simply as any detail - whether it's writing out meticulous and painstakingly thorough or as light as a stroke of ink on wet paper. And you can't explain in a nutshell how some laws are inside the world - they say, and in the city you can't wear red hats or green raincoats. But without this thing, the world risks seeming unreal. What's it? This is the echo of centuries, the echo of the past hundreds and hundreds of years, which is reflected in the sound of the heroes' footsteps - the echo of the world's own history. And that's the main thing that is most difficult to deal with. In the article about the details, we gave a link to a video analysis of the saga of a Distant Galaxy, and in connection with this analysis we mentioned: the most important thing that Lucas did for his saga was to give it density and weight, forcing the fabric of clothes to become faded, and the metal to become covered with rust. And so. Lucas gave not only weight and density, he also gave the fictional world time. Time, intangible but inexorable.. This world, this Galaxy.... this world is old. Its history has been going on for many centuries, and we, the audience, can observe only a small part of it. It is not born in front of us - it goes on as usual. That's what I mean when I talk about the "echo of the ages." In the world inside the book there must be this layer - untold, but existing. The hero (or rather, the reader walking next to the hero) may stumble upon evidence of his existence here and there, as an archaeologist stumbles upon bones and ceramics in the cultural layer, but, bearing in mind moderation, this very "echo" should never drown out the chorus of the narrative. In this case, only the author should be omniscient - neither the heroes nor the readers should become "know-it-all" - the echo of past epochs should remain an echo. Just like that - echoing loudly in the steps of the heroes. but not becoming the main party. After all, the history of the world has largely determined how these heroes grew up, in which country and in which place they lived, what they know about the world around them and other people... but the heroes, immersed in the history of their world, know it also only in fragments, fragments, and ... to quote the character of the writer Alfina - "Historiography is more art than science", history always suffers from inaccuracy, although it strives for accuracy... aspires, but is unable to achieve it. Do you know why the history of a fictional world that does not directly affect the events described in the book should remain mostly an echo? I'll give you an example from my writing work - once Eirik Godvirdson was the very "beginner", and sat writing only the second novel in his life. It was a novel of the Atvan cycle. The novel needed an introduction, a prologue. And Eirik Godvirdson (it's me!) wrote the prologue. Beautiful, mythological. There the focal character was... god. One of the gods of the world is Atwan. to be more precise. And everything would have been fine with him, with the prologue, except for the "tub of frogs", which we ourselves did not realize yet... yes, but our closest friend, and later the technical editor of what was written, said this: "Not the best start for a book. You see, it all looks like an ancient cool god came to explain to Stupid Vasya how the world works. Tell me, why would an ancient cool god explain anything to a Stupid Vasya at all?" And I scratched the top of my head, sighed and erased the prologue. The whole, the whole - eight thousand printed characters, no less. because really, there's no need. And... is my reader Stupid Vasya? No. That's why... that's why I erased it. Let the echo of the great forces - the divine will, history, the change of epochs - remain an echo. I will try to tell about its existence in a different way. Delicately and unhurriedly, weaving the echoes of this echo into the entire composition of the novel. And if the "frogs" could be used during editing. the effect that our friend seemed to us about - he would have killed the entire credibility of the existence of Atvan in the bud. I would turn it into the scenery of an amateur theater. but we want the world to be not a convention, but a part of events! Or even more: the world itself is another hero. The main one, for that matter. After all, I'll probably lose count if I try to remember how many times I've heard from people who love fantasy: I'm interested in the world. I read for the sake of peace. Heroes... Oh, well, yes, some are unbearable, but WHAT A WORLD THERE IS. And for the sake of this feeling - that the world is real - and it is worth making every effort not to destroy this feeling. And it is, you know, fragile - especially at first. All our reading and writing experience speaks to this. Therefore, invent a story for the world. In advance. Completely. But don't tell it all at once, ever. Let the reader listen to the echo . your characters are walking, their shoes are knocking on stone slabs or a paved road, or maybe just raising dust or kneading dirt... And there is an echo in every step. Barely audible. They go through history. And the story sounds. They sound like strings for centuries. The centuries that have flown by the world since the birth of the world - until the moment when your reader sees: here come the heroes. and under their feet... And by the way, it was thinking about all this (a long time ago, a very long time ago - we thought about this very "echo" a lot) that we gave this name to one of the parts of the Atvan cycle - "Echo of the Ancient World" The image is taken from open sources on the Internet

It finally happened. The author (represented by 1/2 of himself) has matured to try to illustrate a new work on his own. Here we wrote that we have started work on an adventure story for children and youth. So, the main and best news of this Thursday is that the story is over! There are 7.5 author's sheets in it, which corresponds to about 180-200 pages of an ordinary A5 book. The previous working title - recall, it sounded like "The Mystery of the Straw Ravine" - was changed to "Adventures at the Red Creek Ranch", the book received a "historical reference" and - this is the second important news - an illustrated edition project. and this time the author decided to take a chance and illustrate the book on his own. The book will appear on the Reader after completing the illustrations and final editing. What will the story be about? About friendship. About the complicated story of a bill of sale for a gold-bearing piece of land. About secrets and mysterious disappearances - people, papers, even, suddenly, rabbits caught in a snare. A little bit about mysticism and mysteries and strange. But mostly it's about summer, the adventures of two teenagers, about love for their native land, for animals, for their family, and about the free wind in your hair - the one when you're only twelve, and summer is almost a separate big life. Especially - a summer spent not in a stuffy and boring city. Such is the story - and we present to your attention illustrations, as well as a sketch of the cover - and this is not all the drawings that will decorate the book! And finally - after this teenage edition, we are planning several stories for children, 6+ These fairy tales will be called "Mr. Coyote and Mr. Raccoon", and they will, as you might guess, be about friendship, of course. Stay tuned! And the illustrations - here they are. We hope you will like both the story and the drawings!

A festive quote and a festive picture from our illustrator, Maria Morris - with a couple who boasts perhaps the most dramatic relationship story - William Joyce and Anna Houston. "Sighing, Joyce screwed the wick in the lamp, leaving a barely flickering light. For some reason, I didn't want to get up, drag myself to my place. But to fall asleep right in the chair, here and now, with your feet on the table - very much. It was rumbling outside the window – it was raining, lightning was drawing the sky. The weather here always deteriorated suddenly – and Joyce finally decided not to go anywhere. He'll probably regret it in the morning, but... his eyes were closing by themselves, and Joyce did not resist, only the Colt, out of long-standing habit, shifted it more comfortably, under his arm. The rain was pounding furiously on the walls, roof and windows–well, so much the better. No one would want to hang out in such a downpour and look for him, Joyce, attention for whatever purpose. "The working day is over," he muttered, pulling his hat over his eyes. Well, he was wrong there. Someone still needed it - with it already in the deep darkness of the night. Someone was hesitating on the threshold for several minutes - Joyce perfectly heard footsteps, at first fast, then sharply slowed down, and fumbling with the door handle. They tried to close the door carefully, but the wind still heartily slammed the sash against the wall, tearing it out of the hands of a gawking guest, brought the smell of rain and cold humidity inside. The downpour has subsided, but the wind – not a drop. Joyce covered the colt lying on the table with his palm and twisted the wick in the lamp harder. The light increased – and the guest, taken by surprise, froze. A guest. In a light light raincoat, from which water runs in streams, with dark curls carelessly scattered around a pale face; standing, crumpling a drooping wet hat in her hands and nervously fingering the handle of the bag – and how familiar everything is, to the last gesture...! - Anna?! What the hell...? Joyce asked in amazement, putting away his weapon. "You're sleeping at work again," Anna sighed. "I asked where I could find the sheriff, and three out of five townspeople sent me to the station, not to your house."… How familiar it is. - What are you doing here, and let me repeat the question – what the hell? What if I had fired? Joyce got up, walked around the table, and sat on the edge of the countertop. - You don't shoot at random, - she put the bag at her feet and straightened up wearily – it seems that the burden was heavy. – I remember that. "A lot could have changed," Joyce chuckled, "since then, which you have information about. Why did you come, Anna? - I thought that… Now she'll say – I didn't say enough, you didn't listen, Joyce thought wistfully. My chest ached horribly. Anna looked confused, tired – wet, pale, and her eyes were burning like after a fever, her curls were heavy from the water and drooped, there were disturbing shadows under her eyes. She was like a rose, lush and festive, but torn by rain and wind–infrequent, but still dazzling. - I thought, - she continued, took a breath, and, hesitating for a moment, gave out the unexpected: – That I was wrong, Will. And I forgot to tell you about it. - And for this...? - yes! That's why I took the damn train and drove the damn miles," she threw her hat on the floor and clasped her fingers in the lock. Her hands were shaking, and her eyes shone even brighter, alarmingly and dangerously. – Are you satisfied? I was wrong. Forgive me... if you can. "Damn it," Joyce muttered softly, confused.… - what? – Anna jumped up. - Nothing. I think I misheard, or are you...? - What else! He misheard. I said I'm sorry. If you can. Will that do? It was already dangerous to pull any further–the unfortunate one was unhappy, but Anna was perfectly able to find the strength to go to war from anywhere... however, Joyce was a little mistaken here - she did not make any noise, but simply sat on a stool by the door, gently rocking the bag with the toe of her shoe, and stared at her hands clasped in her lap. "Anyway, I'm not going to turn you out in this weather," he chuckled a little. - Is the rest negotiable? – Anna raised her head and smiled so warmly that she would melt a stone with this smile. - Discussed, - he nodded. I thought to myself – what a fool. Well, let it be. He definitely can't do anything more stupid than this idea of getting a job as the sheriff of San Albino. It seems. " (c) E. Godvirdson, "Everyday Life of San Albino" Take care of your beloved ones! Appreciate each other, love each other, and be happy!

What does the author feel when he gets his newly published book in his hands? We can responsibly declare – a great joy! Satisfaction from the work done, pride in the illustrator artist and happiness from understanding: the book is real, and it looks just great! This is a trial micro-edition, gentlemen. With the help of the Ridero publishing platform, we conducted, so to speak, a run-in of the layout in real conditions. And we are extremely satisfied. What I would like to note is the print quality! It's gorgeous. Excellent white paper, excellent printing of illustrations (there are more than ten of them in this book, detailed, complex), a qualitatively stitched and taped internal unit, excellent image transmission quality binding – matte, smooth, opened with a pleasant rustle of a new book ... everyone who loves books will understand us perfectly now, we think. Your author – Eirik Godvirdson (that's us!) – promises more details about the book and further prospects related to it. But for now, enjoy with us unpacking and viewing the newly released book "New Mexico, the year 1887". With the warmest thanks to the Ridero service and our illustrator Maria Morris, we are writing a video – and we remind you: stay in touch! Wait for more posts!

This post is directly related to the previous one, and therefore this is not the third iteration, but a continuation. I told you in detail about the effect of the "tub of frogs", but I forgot to pay attention to one very important technique, which, in addition to completely eliminating the feeling of frogs stuffed in the hands and by the collar, also works great for immersion in the material and atmosphere by itself! This technique can be briefly called "the unfamiliar in the familiar." Speaking about the "entry point" in our first article on the topic of exploring the world, I mentioned that the whole essence, all the salt, all the taste and beauty are in the right details. In other words - I repeat - the diabolical essence of the attraction of a text (or other work of art) is in them, in the details. But at the same time, I argued afterwards that overkill with nimii - especially saturated with originality and an excess of neologisms - leads to a "tub of frogs". What then? What if there is no way without neologisms, and the world is really peculiar and exceptional? Well, first of all, let's remember that video selection that I advised to look at over the weekend - about, oddly enough, Star Wars. Here is this viderazbor-review It is possible for our topic not to watch it from and to, but to view the first 15-20 minutes, and you will understand what I am going to talk about now. But still, let's get started! The parser notices this feature of the narrative in the Lucas saga - he does not pursue entertainment and unique originality. He does not chase - but he reaches it. "The heroes' clothes are shabby, they are made of coarse fabric. The metal bears traces of rust, and there are no sparkling snow-white panels and bright colors that were associated with fiction back then" - this is the golden phrase. The heroes in Lucas' world do not play the roles set against a beautiful supposedly futuristic background - they live. It makes you believe in what is happening. the heroes have rain and wind, sun and sand behind their backs, and all this makes their clothes worn, and metal causes them to become covered with oxides, paint - to peel off... time has power over this world, and we see - even without focusing attention specifically - that the world... almost the same as ours Do you understand? We recognize the world of fictional events - and accept it as our own, because we recognize it. Due to the fact that we see something in it that we know well, that we can definitely integrate into our experience and understand why this is so - without additional references, explanations, analysis... without all this mental note-taking, as in the case of frogs-in-a-tub. We are served - gradually - the unknown with the details of the known, and very well known. We know. what is sand. What is heat. what is a coarse plain fabric. We know what it is - the state, the evil ruler, the struggle for freedom - and we don't need to decipher all this. Lucas took images that are understandable without any re-twists, and showed them to us at first clean and intelligible - and only then-oh-oh hung with a complex history, neologisms, philosophy... and all that distinguishes StarWars-vers from all other cosmo-fantasy worlds. I remember, Gentlemen Oldie, in one of the articles - in my opinion, it was called "The Ghost of a Japanese policeman", and I recommend it to be read in the hottest way! - they mentioned the principles of eastern (Japanese) aesthetics. And among others, there is the principle of "sabi" - and it, in short, sounds like "routine". Ordinariness and simplicity, sabi and wabi are probably the most important in this concept in general, but this is not our (not a Japanophile ever) view. So what does the principle of ordinariness tell us? Down with pretentiousness! Beauty is in what surrounds, beauty is in what is clear and seems familiar to the smallest detail. Beauty, harmony, and hence the value of the text, gentlemen. So what? Therefore, the advice here is this - saturate the text with details not through pretentious originality, but through something that does not require explanation. That is, through things that are recognizable, although somewhat peculiar - because they belong to your inner-book world. There should be no ocean of innovations for the reader - he should be ready to cling to something with his mind, eye, soul - and say to himself: oh, so it's almost like ours! I know that... Oh, wait, I don't know - but I'll find out. I'll find out! Here, for example, is a phrase from the mouth of Anakin Skywalker (since we took the example of a Far, Far Away to sort it all out) - "I hate sand. It penetrates everywhere!" This phrase - I don't know why - is accepted in the geek environment to scold. Well, let's leave aside why this is so (probably due solely to the duckling effect and the haterism of everything that is not the Holy Classic Trilogy) - however, I'll tell you what. dear readers... in my opinion, this is the most diabolical detail. Accurate, accurate, whiplash! Who hasn't suffered at least once on the beach, shaking sand from everywhere - from hair, clothes, shoes?! These words about sand were said by a young man who grew up among endless sand. And his strange and inaccessible experience suddenly turned into a facet of recognition: yes! Yes, it's sand...! in sandals, in hair... yes! Do you recognize it?** If you find out, then it works! So - achieve recognition. Remember, I said at the "entry point" - be honest? That's why be honest. You must be understood - immediately, and at first not even with the mind, but with the heart. With the mind, too - but first with the soul. Believe me, art is unthinkable without nourishment of the soul. And it's not even complex meanings that nourish it, but small joys, like quick recognition - yes! This is it! Yes! I can understand these heroes because their world - different, unusual, beautiful - still tells me that I am able to figure it out myself! Give your readers this joy. Remember - diabolical little things-details build a big world. Let these little things play on your side and give you a sense of recognition - immediately, without poking and kicking. Give the joy of recognition - so that the world plays with colors accessible to the human eye. After all, this is what we need. right? PS: Visit the site this week again - we will have news on Saturday! Great news, you won't regret it, I'm telling you for sure! **The picture in the post is taken from open sources on the Internet