Playful, punning, fun, but something that draws deep Is that also a pun? Maybe you want to set the novel in the past, in a small town based on your hometown. I knew, so I chose. Perhaps the tension of the big reveal is better suited a little later or earlier. Write at greater length and you come up against the fact that Smith keeps her ideas so close to her chest that it is almost impossible to describe the book without spoilers. This novel is an experiment because half of the books were printed with the story of George first, and the rest were printed with the artist's story first. I read George's story first, and I believe that informed my reading of Francesco's story.
The two narratives are linked because George and her mother had gone to Italy to see a fresco painted by del Cossa, and it turned out to This experimental novel is challenging, but if you can give it your attention, it is wondrous. Then, check the plot and make another list of possible changes story events could cause in your character, making note of which changes you want. And I think that we as people think that because we don't get it, it must be profound. The inciting incident may then be the impending death of her mother. The novel's main selling point is that it can be read in two different ways. You may encounter lulls in tension shortly after an obstacle is defeated. One is set in modern-day Cambridge and has as its protagonist an adolescent girl mourning the recent death of her mother; the other is set in fifteenth-century Ferrara and has a cross-dressing female del Cossa as its narrating voice.
I read the Francesco narrative first. Edit: 28th September 2018 I was in Ferrara recently - where a lot of the action of this book happens. Half of the editions printed of this book have Francescho's section first, and the other half start with George's. Shifting through space and time, Francescho tenderly observes this teenager studying the little square images she has affixed to her bedroom wall. The pages devoted to Francesco's story in 'How To Be Both' are stylistically experimental. I was impressed by how they are both This book was so interesting that while reading it, I decided to order 5 other of Ali Smith's novels just because I knew I had to get to know her better. The book does rather demand to be read twice, Eyes-Camera and then Camera-Eyes or the other way around, since the stories reference each other and almost overlap; cf.
As with George we get flashbacks to her mother, as with George she is befriended by someone more popular : a son of one of the local important families, although it becomes clear that there is an unacknowledged not last because her very being a girl remains unspoken and unconsummated love for her from the friend. The most exciting and thought-provoking moments of the novel are when the narratives intersect, when Smith gets the mirrors to smoke. It can be just rocks and landscape if that's what you want it to be-but there's always more to see, if you look. Do practical exercises and read helpful examples to improve your ability to tell compelling stories. Very little is known about him though, so the story of his life as presented in this book is Ali Smiths creation. So, like most people these days with Google at my elbow I found this: Playful again. The narratives are exactly the same in both versions, just in a different order.
Again, I think starting with Francescho is the more difficult way to approach the novel: if you start with George, you'll have a better idea of the big picture as you embark on the second half, but having that delightful 'oh, now I get it' moment as everything ties together at the end was half the fun for me, so I'm glad I experienced this book the way I did. Taking the time to outline your novel can save you grief in the long run. Art lovers will enjoy this book. Something has both an appearance, and a true nature — things which both exist at once. Each time they exchange banters, I immediately sit up straight and devour their conversations. This wonderful, playful, beautifully written book contains two different stories. And so I gave up maybe a quarter of the way through.
It is a jeu d'esprit about a girl coming of age and coming to terms with her mother's death, a ghosting of a Renaissance fresco painter in a 21st-century frame and an exhortation to do the twist. This guide will explain all the techniques you'll need to craft an effective outline for your novel. Ali Smith has us on a line like the fish being pulled by its mouth on a hook that started my version, joking straight away, you see, hook your reader. When you start writing, you can fill in the gaps in each chapter. The message on the postcard seems like an appropriate addendum for Smith's oeuvre. They certainly can in a book.
They look identical, but in one version George's story comes first, and in the other, Fransesco's. Overall a fascinating, ambitious and thought provoking book — a long way from perfect but admirable for its attempt and one to return to frequently. The snowflake method consists of: a one sentence summary of the novel, a one paragraph summary of the novel, character synopses, and a spreadsheet of scenes. That self-taught skill gets Francescho a job painting panoramic frescos at the Palazzo Schifanoia, and there we follow her working with the more famous Cosimo Tura. Grid is particularly useful for smaller buildings.
Keep your characters active until the final moment. This novel can be read in two ways, and the eBook provides you with both. Francesco's half was rather more abstract that George's, and this abstraction lent itself to understanding only if read first. For example, if you like reading historical romance novels, you may decide to write your own historical romance novel. I'm having a particularly hard time arriving at a star rating because Ali Smith is a genius and I want to read everything she's ever written this was my first time reading her , but I found this book inspired and frustrating in equal measure. For example, there is time lost when travelling, or when there are so many meals a person can eat or disasters a person can prevent realistically in one day.
I'm assuming that most people who are familiar with Ali Smith's work were aware of the uniqueness of this publication ahead of reading it. No question of Put your blindfold on. This helps flesh out your novel and define roughly how many words or pages to allow for a certain plot point, subplot or character introduction. Of course, you always have the option to tell your reader that a few uneventful weeks or a busy month passed with no plot progression. To be both: both an artifice and a thing in the real world: I like very much a foot, say, or a hand, coming over the edge and into the world beyond the picture, cause a picture is a real thing in the world and this shift is a marker of this reality: and I like a figure to shift into that realm between the picture and the world just like I like a body really to be present under painted clothes where something, a breast, a chest, an elbow, a knee, presses up from beneath and brings life to a fabric, I like an angel's knee particularly , cause holy things are wordly too and it's not a blasphemy to think so, just a further understanding of the realness of holy things.
A chronological gap occurs when an underdeveloped story jumps over a period of time. It should present the tone, voice, and style of the novel. What do your other characters want in the world of the novel? The falling action could be dealing with the death of her mother. But that feeling does pass, and there are some marvelous passages in this half too. How To Be Both is composed of two stories. And how can a painting bring ground pigment and oil to life? And this is no blasphemy, merely a reasserting of the power of the gaze back at us from outside us always on us. For more advice, including how to use writing prompts to come up with ideas for a novel, read on! And I have a ready excuse, having read this book before and after Thanksgiving.