L or worse is that Rafa has every reason in the world in the previous post. There seems to be a relatively simple formula for writing a successful novel, a bestseller , and that anyone with a little office, will and luck to reach the interest of readers, if not for his simple face (and no will or legal) as was the case of Ana Rosa Quintana and pastry novel, written by a black man who in turn turned to plagiarize another novel, I guess that also written by another black.
say it is not easy to publish a novel or succeed with using a simple formula (at least for ordinary mortals), but I think it's pretty easy to write a successful novel. As easy as the father of all these books (as pointed out by Rafa), now in bookstores sweep, The Name of the Rose , was the result of a challenge and a bet made by Umberto Eco to a group of friends, to which ensured that I would write a successful novel for the simple fact of trying. We agree with Umberto Eco is a very smart teacher who knew how to view and combining some well-known narrative resources effectively in a remake that came in handy, with Argentinian blind librarian rampant in medieval abbeys and an obvious Sherlock Holmes drug monastic habits. But the point is that was what he wanted to prove, not a novel that was a masterpiece, but a novel that had much success. I imagine that even Umberto Eco has a formula for writing a masterpiece, or at least, my admiration for literature thought that it is quiet.
In any case, exposing Rafa I approach it every time I walk into a bookstore, especially when approaching certain dates, like Christmas, in which there is an undeniable fury consumer business even as it unlikely to such as bookstores. Before you buy a book, I usually watch what they buy for others, listening furtively buyers comments and advice from the employees, to gauge the quality of the books that crowd the tables closest to the entrance of the store. And mostly I wonder what success means.
"Success" is a pretty vague word, which means, according to the dictionary SAR, "well accepted that a person or thing." So far so good, but there is a factual and temporal uncertainty worries me. Know if there is a word that can refine what I want to defend from now, but, to say as soon as I hit the books I see in bookstores are not the same as others see them.
I will give three examples: for me, three successful novels are In Search of Lost Time , The Heart of Darkness and metamorphosis. Now that's success. The three were written more or less a hundred years and is no longer possible to say how many copies have been sold worldwide for each of them. However, none of the three had greater acceptance in the time it was published, and even Marcel Proust and Kafka died without any celebrity, in the case of Joseph Conrad in his old age was precisely for the least of his extraordinary production. In the meantime, we found three writers who did not meet at the time of the novel conditions of success: that the novelist was known by any means, she was told by the readers before they publish their books. But then, by looking at the novels themselves, nor meet another undeniable premises of best-seller and I would say that almost all the novels are written, at least in my case (and I imagine that the vast majority of cases), it was impossible to identify with the protagonist, not even any of their characters. Of course, I did with the narrator petulant, jealous and gossip of In Search of Lost Time , or the fearless and verbose Marlow of Heart of Darkness , or, as is easily understood, with the bug Kafka's novel. But is that none of the three stories I found the mystery by any party: Proust would have become a bit difficult to keep it for three thousand five hundred pages, and the other two novels, so short, their respective writers did not give them the desire to make a point of suspense in the story. I do not even want to imagine what would have made a fashion writer with these two ideas, the colonialist conspiracy, mutations pseudoscientific and unsolved mysteries that have been endorsed to the delight of readers. The action in all three cases, absent, not to mention the dialogue. And what is more interesting: none of the three writers followed the fashion of the time to devise novel. He never wrote (or believe you are writing) a novel with a very thorough and meticulous description of every situation as Proust did, it is difficult for a character as attractive as Kurtz is given a few pages, not more than twenty, when the whole novel revolves around his personality, I do not think there were so anguished novels before Kafka wrote Metamorphosis , or that such circumstance is attractive for any player of his era.
Those novels, like many others that do not lie on the table for success, are in any bookstore, sold Christmas and summer, there are plenty of studies that deal with them, and most importantly, they have been read for generations Readers from many countries, very different cultures, their language and in translation sometimes better and sometimes worse, and yet still there on the shelves bookstores, discreetly, as extras in a vanity fair, without making much noise, without advertising or media support.
I also think that the three writers, when writing these novels, felt in a very subjective success, which is to do what you really want to do. Proust fought the disease for years, stuck in a room with walls covered with cork, and managed to steal just enough time to death to finish his novel. Conrad lived through many financial hardships throughout life, and left his seafaring profession to write about what, personally and only for him, he was amazed at his many journeys. There is more to see the shack that Kafka lived in Prague Castle or read their heartbreaking letters to wonder why he even moved to write to the pen pushers complexes. In such cases, or in any other lot happier, we should ask what led him to a writer to write a novel that is out of fashion, which is unprecedented, which is what the reader gets tough, when it is easiest follow a formula, a simple logical formula. For the real writer for a really good novel, success is not a cause, but only a possible consequence.
In any case, exposing Rafa I approach it every time I walk into a bookstore, especially when approaching certain dates, like Christmas, in which there is an undeniable fury consumer business even as it unlikely to such as bookstores. Before you buy a book, I usually watch what they buy for others, listening furtively buyers comments and advice from the employees, to gauge the quality of the books that crowd the tables closest to the entrance of the store. And mostly I wonder what success means.
"Success" is a pretty vague word, which means, according to the dictionary SAR, "well accepted that a person or thing." So far so good, but there is a factual and temporal uncertainty worries me. Know if there is a word that can refine what I want to defend from now, but, to say as soon as I hit the books I see in bookstores are not the same as others see them.
I will give three examples: for me, three successful novels are In Search of Lost Time , The Heart of Darkness and metamorphosis. Now that's success. The three were written more or less a hundred years and is no longer possible to say how many copies have been sold worldwide for each of them. However, none of the three had greater acceptance in the time it was published, and even Marcel Proust and Kafka died without any celebrity, in the case of Joseph Conrad in his old age was precisely for the least of his extraordinary production. In the meantime, we found three writers who did not meet at the time of the novel conditions of success: that the novelist was known by any means, she was told by the readers before they publish their books. But then, by looking at the novels themselves, nor meet another undeniable premises of best-seller and I would say that almost all the novels are written, at least in my case (and I imagine that the vast majority of cases), it was impossible to identify with the protagonist, not even any of their characters. Of course, I did with the narrator petulant, jealous and gossip of In Search of Lost Time , or the fearless and verbose Marlow of Heart of Darkness , or, as is easily understood, with the bug Kafka's novel. But is that none of the three stories I found the mystery by any party: Proust would have become a bit difficult to keep it for three thousand five hundred pages, and the other two novels, so short, their respective writers did not give them the desire to make a point of suspense in the story. I do not even want to imagine what would have made a fashion writer with these two ideas, the colonialist conspiracy, mutations pseudoscientific and unsolved mysteries that have been endorsed to the delight of readers. The action in all three cases, absent, not to mention the dialogue. And what is more interesting: none of the three writers followed the fashion of the time to devise novel. He never wrote (or believe you are writing) a novel with a very thorough and meticulous description of every situation as Proust did, it is difficult for a character as attractive as Kurtz is given a few pages, not more than twenty, when the whole novel revolves around his personality, I do not think there were so anguished novels before Kafka wrote Metamorphosis , or that such circumstance is attractive for any player of his era.
Those novels, like many others that do not lie on the table for success, are in any bookstore, sold Christmas and summer, there are plenty of studies that deal with them, and most importantly, they have been read for generations Readers from many countries, very different cultures, their language and in translation sometimes better and sometimes worse, and yet still there on the shelves bookstores, discreetly, as extras in a vanity fair, without making much noise, without advertising or media support.
I also think that the three writers, when writing these novels, felt in a very subjective success, which is to do what you really want to do. Proust fought the disease for years, stuck in a room with walls covered with cork, and managed to steal just enough time to death to finish his novel. Conrad lived through many financial hardships throughout life, and left his seafaring profession to write about what, personally and only for him, he was amazed at his many journeys. There is more to see the shack that Kafka lived in Prague Castle or read their heartbreaking letters to wonder why he even moved to write to the pen pushers complexes. In such cases, or in any other lot happier, we should ask what led him to a writer to write a novel that is out of fashion, which is unprecedented, which is what the reader gets tough, when it is easiest follow a formula, a simple logical formula. For the real writer for a really good novel, success is not a cause, but only a possible consequence.
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