Duofem And Ferrous Fumarate Tablets

The sweet smell of fiction: the writer in his labyrinth

"When you get trapped in the destruction, you must open the door to the building. (...) I am what I am. "A. Nin

The reality is woven of fictions that lead us to recreate a story. This story works often with reality to build a discourse that mediates between truth and falsehood. The interesting thing is to convince the watchful eye that scans the text, if the world exposed for the world that circles around us or is just an artifice. This mold can be placed in the magic of an alternate world or simply a traversal of an idea enigma pilgrim that elapses from our minds. Whatever the fictional constructs enigmas beyond merely ideological or political. Transform and produce a reality that becomes a link between the reader and the scribe.

For many, the story told has to be recreated in its entirety by mere gimmicks that lead the reader to succumb to the spell the story. I can narrow this interaction and infatuation at first sight between the reader and the writer. However, the reality is something else, usually the story is a succession of surprises, but a progression of discoveries that lead us to dig - putting ourselves in the shoes of readers - beyond the obvious. We can not fill the reader with mere nonsense devices that have no channel, we must remember that every word, pattern, name or repetitive or veiled explanation is there for any reason without reservation. And many write sin of anticipation or concealment end, which sometimes leads to the text to become commonplace, that disturbs the reader's persistence in pursuing a track or lost in an abstract of nonsense words that do not lead to any horizon.

Due to create an article for a friend I was writing this text on what is fiction for me. I've asked hundreds of times about what is fiction and I now I gather Faulkner "the fiction writers who are great" in the best sense of the word. The idea may arise in the most unexpected and remarkable story that one can meet and establish a sort of signs and patterns that lead to develop or build intrigue. It's very clear there is no fiction without intrigue. We can haunt many nights thinking how to start that story and how we get bloat our characters and how they emerge through the events that we invent for it. What is certain is that our character (either loss or invisible) what eventually will post up a tree, leaving a church, looking in the mirror, or witnessing a crime within a crime (he took the early novels) as well Faulkner says it all depends on the perspective and how to present the character. Without forgetting the point of view. Because changing point of view change the story and everything that comes along with it. We could imagine a child witnessing a crime from a tree who then begins telling us the story or to shift perspective and see where the girl suffers the consequence of crime. In both the girl tells the story in a simple witness and the other the stars. We go beyond the child commits the crime and tells the story. To think of these three perspectives had to tell stories, to give a moral or merely accelerate it away or rather the meaning and give an urban twist with ingredients of malice. The voice of the story varied from the perspective that we approach it and give us a multiple view of the same history. Are events that will lead to the development in which we readers or scribes we choose the end or you simply conform to a simple movement of nut find meaning in meaninglessness or vice versa.

To track and create universes full for those who want to share and enter fully into our fabrications with the charm that it deserves. While recalling that any real or fictional labyrinth has an output and to produce these passages is as important as creating the escape. If only to ourselves.