Right from the very beginning I wish to make obvious that my object of observation is Truman Capote's novelette Breakfast at Tiffany's, and never the movie by a equivalent identify.
From the novelistic edge of view, just range of a few of Capote's writing thoughts drew my factor of interest at some factor soon of this rereading.
Throughout the book the narrator suggests his frustration in attaching a label to the protagonist, a label that would capture and outline her personality, something catchy and helpful that readers might purely digest. After grappling with "a crude exhibitionist," "a time waster," "an utter false," he lastly hits on a basic literary gadget -that when used in the wonderful neighborhood and time sticks- that is in the principle uncared for: the oxymoron.
How apropos of Holly Golightly! "A phony. But an genuine phony." Who can disagree with that?
In the alternate virtually writing between the narrator and Holly, one long-established sense jewel shines: Beware of description. This piece of feedback coming from an illiterate character identical to Holly Golightly wounds the vain writer-narrator.
"I read the story twice," says Holly. "Trembling leaves. Description. It doesn't mean something else.
Master writer Stephen King says, 3 tools are discovered -narration, description, and dialogue- to novelists, which they ought to use with care. Abuse one, and the complete work suffers. This is for sure Holly's long-established sense feedback. Description ought to necessarily be used to highlight the sensory particulars that the writer desires the reader to experience. Gratuitous description neither moves nor delays the story since it has more to do with the readers than with the story.
For instance, in the scene where the narrator rubs oil on Holly's back: "Her [Holly's] muscle tissue hardened, the touch of her became like stone warmed by the sun." This is 'description.'
Again, a added piece of long-established sense feedback that coming from a character who solely reads tabloids, shreds the writer's shallowness:
"I haven't planned that far."
"That's how you stories sound. As although you'd written them without knowing the finish."
Ah! How perceptive of Holly. In Daniel DeFoe's Robinson Crusoe, we learn that Crusoe falls a resounding tree and carves out a gratifying canoe, solely to see that he couldn't take it to the water. Lack of planning in subculture moreover to in writing can ruin our lives.
Not solely is the novelette is rich in straight one-unmarried-image similes identical to:
It nagged me like a tune.
Miss Golightly, to be certain, floated round in their palms faded as a scarf.
He'd exhibit up to be a monk if it …
His speech had a jerky metallic rhythm, like a teletype.
…and fell full-length, like an axed oak.
But we additionally can uncover similes which are elaborate, more rigorously crafted:
"As a quartet, they struck an unmusical note, especially the fault of Ybarra-Jaegar, who gave the impression as out of neighborhood in their firm as a violin."
"Mag Wildwood couldn't comprehend it, the abrupt absence of heat on her go back; the dialog she began behaved like green logs, they fumed but would no longer fire."
"And since gin to artifice bears a equivalent relation as tears to mascara, her enchantment straight dissembled."
Similes are a dime a dozen, but when a writer hits on a felicitous metaphor, this parent can become a prototype and become part of the language. Breakfast at Tiffany's has come to mean 'high priced mental theraphy' which soothes the nerves, for as Holly Golightly says, "nothing very awful might arise you there."