Questo è l'inizio del racconto. Dopo la frase iniziale di solito segue quella che viene definita la seconda frase. Cioè, non di solito. Direi che è sempre così. Non può che esserlo, è ineccepibile. Il problema è quello che viene dopo. Sì, perché non basta lo spunto, bisogna sapere come proseguire. Bella storia. Quante volte a tale hangs at the start, bogged down. So it is. Million stories in millions of drawers. Million outlined by millions of hands and thinking minds (not always, strictly speaking, to say hundreds). Start aborted wavered. Stillborn. Then one sits down and takes a pen in his hand, and just to be able to challenge it expects to sign a row after another letter to letter, word, phrase, comma tilde apostrophe to square one point the other first capital case. Then Collins asked if the hand has just written the last word. That double letter there that accent too. Not always, I must say. Sometimes no dictionary. Will be just as it is, no doubt, even to ask. Then the block. For ten who come to the tenth page ninety you are stopped at second. Among those, two arrive at fifty and one hundred and beyond. In fact, I come to a hundred, not tired and almost humiliation of the other short of ideas and ink, exaggerates, wants to be verbose, show everyone that he can get five hundred to three hundred thousand. Yes, ten thousand. The problem is then the inverse of the readers. For each page over two hundred a player leaves before the end. For over half a thousand each player will not start either. Drawn by stories shorter. Immediate and economic. The revenge of the slow. Slow to write, slow to read. Or Slow write, fast read, it does not matter at that point. At that point the story takes another turn, wants to displace, surprise. Repays you for choosing me. In reality more than anything else I did not know how to proceed. Masks the paucity of ideas with the change of direction. Drag the story at the turning point. Quote of the turning point has the characteristic of being preceded by a sentence and followed by another sentence. Like every other sentence of the story, anyway. Apart from the first, of course, and the last. But the central one has the distinction of being the most vacuous of others. It 'this be equidistant from its edges. So the turning point is introduced the new element unsettling. It has the effect of allowing the writer to use the same soup of the first half of the story for the other half. Nobody will notice anything, because now there is a new element, it seems to speak of other things, new things. So you recline in a chair and stretch both legs on the coffee table, on the other. Raise the volume up above his eyes and read on. But something seems you do not come back. What's up, you wonder. What I'm reading is still part of the story, you wonder. We also arises the doubt that there is a new item that was not there before. But we do not mind you, not right away. Just beyond, perhaps, but not immediately. Absently read to the bottom of the page, but you realize that you are not paying more attention to reading, do you think of anything else. You have to go on with our vision to understand the last sentence of the last connection from the eyes treated with the latest from the brain. Then you realize that that day does not go beyond, and close the book.
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