do little more than a month I was reading This beautiful melody, Pedro Escudero and one of the things that struck me the book was how cultural references used to create a mental picture just to give the name of a character universally known. It is an action that caught my attention because it worked very well, had all the background of the character who uses his willingness to give his name only and allowed to shed micorrerlato anything superfluous to focus on the idea.
Triple Elvis - Andy Warhol
However, while I saw many possibilities for this way of using references, I also found a resource that could be problematic if the reader do not know the reference, because then all that assumes significance and the short story there may lose their meaning. Peter did very well because he played with well-known references, but in the Contest Micorrelatos I participated microstories've seen that I have come to understand why I was missing references. I like the action, provides a great complicity with the reader, but at the same time line between what can be known what is not fine. In the case of the short story must be set much because if not, you can lose the meaning of the story. In long narratives is not the case, since references are not so active part of the story, but are more diffuse in the plot and the story might lose some if not known, but may continue making sense independently. Last week I read several stories with references, do not know whether by chance or because I'm closer to them now and I notice more when they appear. In one especially I thought the reference greatly enriched the story, using a reference film very clear, recreating the first scene of a famous movie and paraphrasing the voice of the narrator of this film. The author was not trying to hide the model, even the highlights and draws comparisons with the film, the narration of the story also takes place in flashback, the film, but the story that has nothing to do. I enanthic the formal game, the references and could not help but imagine the narrator with the face of William Holden, the story works well if you do not know the references, the story does not need them, but the game of complicity with the reader set thanks them.
In another story I'm reading I found a reference music and in this case the reference does not work as well as in the example above. In this case it was just a timely nod to the reader, than me, to admit, I pulled off the story, as if no table found me in that context.
The previous two were referring to enriched or harmed the story, but not really part of it, but you can also use the benchmark as the centerpiece of the plot, is what makes two friends of mine, who used celebrations cultural as Christmas or Valentine fantastic challenge yourself to write stories where traditions move their invented worlds. The set of references is the basis of these stories, where if you do not know the reference original you do not realize how they've played with them or re-reading you have done, but use well-known celebrations like Christmas, it's hard not knowing the reference, the reader can easily see the similarities and differences, complicity that occurs in this case between reader and author is total. An example is the story of Valentine's Ana Moran: His life in dreams
I rarely have used so explicitly referring, usually if there are small hints are trying not to draw too much attention, I refuse to play with the reader thinking that way again that it will not work in the possibilities it gives. Maybe it's time to get to experiment with it.
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