I'm more intuitive. When I'm writing, I like
to search the book with the book, shall we say.
I don't make big schemes, I don't stablish…
I can't, for instance, know how the book ends.
If I know how it ends, I'll lose interest in searching for it.
So, I need to deal with the surprise effect.
Now, there's a kind of tonality
that dominates each narrative, each text, which I must find.
And that's usually the great difficulty.
When I start a novel, for example.
I can say I began
my latest novel, A desumanização,
I must have started it nine times.
But starting means…
In one of the times I had over 80 written pages.
And that's why…
Eventually, already convinced
I was consummating a certain work,
what happens is that, at a certain time,
there's something that makes me unsatisfied,
even in a kind of… Book's aesthetic.
I generically know what I want to tell,
or what kind of environment I want to build.
Then, I need to find the expressions,
I need to find a plastic expression
that comes in contact with what I want to tell.
Why is it that usually I don't create big schemes,
I don't make big plans?
Because what happens in fact with the characters…
It's a bit cruel to say this, but it usually does not interest me.
I can be, as a reader of my books,
I can be moved
with the destiny of Crisóstomo in O filho de mil homens.
But when I'm writing the book,
it's not important
what happens to Crisóstomo…
What I want is to create a character
whose personality is so intense that it convinces me.
If Crisóstomo, at the end of the book…
became sad,
me as a reader would become sad.
But, perhaps, as the author, I could remain satisfied.
Because Crisóstomo…
He's so important due to what happens to him.
He's important for the human lesson he represents.
So, in all my books I seek that…
I seek for each character to be
a way of being.
And what happens…
It doesn't matter…
If the person moves more or moves less,
or if it's more or less beautiful, or if they dress well or bad.
Those things usually, on my books, do not enter.
I rarely describe how the characters eventually look.
I don't overly specify the situations.
If the person saw a bird, they've seen a bird.
Any bird, it does not matter.
Because I'm dealing with concepts
which intend to be universal.
So, I search for universality like that,
from within each character, and not much from the plot.
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