Ir al contenido
Zintegra

Zintegra

Tecnología, sistemas, análisis, capacitación

Etiqueta: Uruguay

Publicado en 2014-12-012018-12-27

Biblioteca digital

Lectura solidaria

Índice – A/ – Anónimos/ – B/ – C/ – D/ – E/ – F/ – G/ – H/ – I/

J/ – K/ – L/ – M/ – N/ – O/ – P/ – Q/ – R/ – S/ – T/ – V/ – W/ – Z/

 

Comparte esto:

  • Imprimir (Se abre en una ventana nueva) Imprimir
  • Share on X (Se abre en una ventana nueva) X
  • Comparte en Facebook (Se abre en una ventana nueva) Facebook

Me gusta esto:

Me gusta Loading…
  • Español
  • English
  • Français

Random Quote

A banker is a fellow who lends you his umbrella when the sun is shining, but wants it back the minute it begins to rain

— Mark Twain

Entradas y Páginas Populares

  • El conquistador

Etiquetas

  • Amazon
  • anexos
  • Argentina
  • capacitación
  • comentario
  • competencias
  • conocimiento
  • César Aira
  • Educación
  • El Chahuistle
  • El Chamuco
  • El mito guadalupano
  • ensayo
  • Epílogo
  • Italia
  • Jorge Francisco Isidoro Luis Borges Acevedo
  • José Carlos Morales
  • laberinto
  • La Garrapata
  • libros
  • Los Agachados
  • Luigi Pirandello
  • manual
  • Manuel Vázquez Montalbán
  • Minotauro
  • Monterrey
  • México
  • narrativa
  • novela
  • pdf
  • Pepe Carvalho
  • poesia
  • Prólogo
  • redacción
  • Salvo Montalbano
  • servicios
  • Sicilia
  • sueños
  • texto argumentativo
  • Tipografía
  • Unicode
  • Uruguay
  • Ελλάδα
  • λαβύρινθο
  • μύθος

Meta

  • Acceder
  • Feed de entradas
  • Feed de comentarios
  • WordPress.org

Entradas y Páginas Populares

  • El conquistador

Etiquetas

  • Amazon
  • anexos
  • Argentina
  • capacitación
  • comentario
  • competencias
  • conocimiento
  • César Aira
  • Educación
  • El Chahuistle
  • El Chamuco
  • El mito guadalupano
  • ensayo
  • Epílogo
  • Italia
  • Jorge Francisco Isidoro Luis Borges Acevedo
  • José Carlos Morales
  • laberinto
  • La Garrapata
  • libros
  • Los Agachados
  • Luigi Pirandello
  • manual
  • Manuel Vázquez Montalbán
  • Minotauro
  • Monterrey
  • México
  • narrativa
  • novela
  • pdf
  • Pepe Carvalho
  • poesia
  • Prólogo
  • redacción
  • Salvo Montalbano
  • servicios
  • Sicilia
  • sueños
  • texto argumentativo
  • Tipografía
  • Unicode
  • Uruguay
  • Ελλάδα
  • λαβύρινθο
  • μύθος

Entradas recientes

  • El conquistador
  • Epílogo
  • César Aira
  • la emoción regente
  • Biblioteca digital

Comentarios recientes

  • paratexto | Zintegra en asunto delante

Archivos

  • agosto 2017
  • enero 2015
  • diciembre 2014
  • noviembre 2014
  • septiembre 2014
  • julio 2014
  • junio 2014
  • mayo 2014

Categorías

  • AP Services
  • Argentina
  • Educación
  • España
  • historia
  • Italia
  • lingüística
  • México
  • redacción
  • Uncategorized
  • United States
  • wikipedia
  • writing

Meta

  • Acceder
  • Feed de entradas
  • Feed de comentarios
  • WordPress.org

Random Quote

A banker is a fellow who lends you his umbrella when the sun is shining, but wants it back the minute it begins to rain

— Mark Twain

Goodreads

RSS omnibus

  • Don Camillo
  • Les Bienveillantes
  • runes
  • ñ
  • scriptum
  • Jacques Brel - "Le Moribond"
  • roots of English
  • The Korean alphabet
  • IPA
  • Vedas

RSS El laberinto de piedra

RSS Writing Academy

  • Your Paragraph Breaks Are Your Real Pacing 2026-07-16
    Most writers treat paragraph breaks as accident. You write until a thought finishes, hit return twice, start the next thought. The break is just where one block of text ends and another begins. The blank line between paragraphs is the strongest pacing instrument in prose. Short paragraphs in succession create urgency. The reader’s eye moves... […]
    steve
  • The Mask Slip Is Where Your Character Starts 2026-07-15
    Most novels give us characters in performance mode. Posing for the reader. Saying the right thing, feeling the approved feeling, making the sensible choice. Writers build the performance and forget the person underneath it. Your character’s defining moment isn’t the big decision or the dramatic confrontation. It’s the 30 seconds when they’re alone, the mask... […]
    steve
  • If Your Last Line Explains the Theme, Cut It 2026-07-14
    Most writers try to land their ending with a thematic statement. “And that was when she understood that home wasn’t a place, it was a choice.” The reader closes the book and the sentence evaporates. It sounded profound for half a second, and then it was gone. Great last lines don’t explain. They show you... […]
    steve
  • Your Adverbs Are Doing Your Verbs’ Job 2026-07-13
    “She walked quickly across the room.” Seven words, and three are working harder than they need to. “Quickly” is telling you what “walked” failed to show. The sentence has a good verb, but it is asleep on the job, so an adverb got hired to compensate. “She strode.” One word. The verb does everything “walked... […]
    steve
  • Every Scene Needs a Clock 2026-07-12
    Most flat scenes share the same structural problem: unlimited time. Two characters talking in a kitchen with nowhere to be and nothing ending. The conversation expands to fill whatever space you give it, and the reader feels the stretch. Add a clock. Not a bomb timer or a literal countdown. A natural deadline. Someone’s flight... […]
    steve
  • The Most Loaded Moment in Fiction Is the Line Nobody Says 2026-07-11
    Most writers load their tension scenes with more dialogue. The argument heats up, characters talk faster, pages fill with exchanges. The strongest move is the opposite. Take the line away. When a character should respond and doesn’t, the reader leans in. Every parent knows the weight of a teenager who goes quiet when asked a... […]
    steve
  • Chapter Length Controls Reading Speed 2026-07-10
    Most writers treat chapter breaks as breathing room. Natural pauses where the reader sets a bookmark. That’s backwards. Chapter breaks are pace controls. Short chapters accelerate. Each new chapter’s white space creates a micro-reset pushing the reader forward. Dan Brown’s chapters run 3-5 pages because the format creates urgency. You read faster because the pages... […]
    steve
  • Your Character Should Go Back to the Same Place Twice 2026-07-09
    The most powerful setting in your novel is a place the reader has already been. Most writers treat returning to a location as a budget-saving move. Same set, fewer builds. The character walks back into the diner, the childhood kitchen, the hotel room where everything fell apart. The writer gives a quick “nothing had changed”... […]
    steve
  • Your Mirror Character Is Your Most Dangerous Weapon 2026-07-08
    The mirror character is the most wasted weapon in fiction. Most writers create a foil without knowing it. The best friend who’s everything the protagonist isn’t. Calm where she’s reactive. Risk-averse where she’s reckless. The writer uses this character for contrast and moves on. But the mirror character isn’t just contrast. She’s a preview. She’s... […]
    steve
  • Your Characters Use Too Many Names in Dialogue 2026-07-07
    Most writers sprinkle character names into dialogue like salt. Automatically, without thinking, usually too much. “Martin, I told you not to come here.” “Why would you say that, Diane?” “Because, Martin, you always do this.” Nobody talks like that. Real people almost never use the other person’s name mid-conversation. They already know who they’re talking... […]
    steve

Referencias

http://www.merriam-webster.com/ http://www.thesaurus.com/ http://www.apstylebook.com/ Guide to Grammar and Style http://labarker.com/sitemap.html#writing http://www.writersmarket.com/ scribendi ASJA Celtx
Creado con WordPress
%d