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review for "All but a" QB

All but one
Pina Varriale
Publisher: Piemme
Year: 2009
Series: Stories of today
Pages: 201
ISBN: 978-88-566-1071-0

From: http : / / www.letteratura-per-ragazzi.it//index.php?option=com_content&task=view&id=933&Itemid=40

number of books for teens are full of heroic figures in excess of evidence to say the least improbable. We are witnessing activism, commitment to a humane and civilized way over the top, which is hard to recognize these guys are the ones that we have under our eyes every day. On the contrary, Pina Varriale us about special children who have a predisposition towards constructive circumstances, guided by an inward movement of conscience or affection, are still registered in the territory of reality. This anchoring can makes mirror his characters, we are able to find them, have a familiar eye-catching, are real. Giulia
For the first days of school: new environment, new materials and teachers, new classmates. The high school is one of the most exclusive areas of Naples. Julia is aware of experiencing a difficult integration, which she had recently changed the district due to loss of employment of the mother, but is stubborn and is confident of succeeding. At home, the relationship between the parents is not clear, ongoing litigation emphasizes the precarious financial position. By chance, Julia hears his mother on the phone and whispers of an alleged father's relationship. In reality things are more complicated, but nevertheless it is called treason. At school, Julie befriends a very wealthy girl, Clara, which opened the door to a luxury never even imagined.
any day the father disappears, leaving his car and a pair of shoes near the pier. Triggered immediately searches the police: the track of suicide seems the most likely. Then a letter arrived. The father was lying for some months, since he was fired from his firm and, to survive, had asked for money to a financial, but had to give him five times and had nothing. For this reason, preferred to disappear and not even threaten the family (we know from the news the methods used by moneylenders to remember the dates). And here's the truth: no leaks or clandestine lovers, his father is on the run from loan sharks. Lies, betrayal, lack of confidence in support of the family are the rocks that are deposited with brutality in the soul of everyone. What next? To go for help? The brother was sent grandparents, Caritas will take the packages of food and a job as a cleaning lady will. And Julia? The clash between the problems of a teenager (the cute guy, the dress more appropriate, friendship, study) and acute needs, creating an unbridgeable gap so that Julia decides to leave school, at least for a while '. He works as a baby-sitter and takes care of the house. The condition is very good insights, they bring Julia and the police on the trail of the Commendatore, which manages this budget. And the circle closes in on Clara and her wealth so dishonest.
One ring, silence, a phone call, the father of Julia is about to go home.
A success story that crosses the major themes of the loan to wear, families that fall into this trap of poverty. This time, however, all but one. (Silvia Bassani)
"My father always said, when he got angry for injustice. How many times have you told to shut up just mean playing into the hands of bullies? "

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I often read emerging writers (but I found the same feature in many established authors, I think for example of Simenon books that regurgitate the dialogues or certain Marquez's novels, to name a few), to find the front pages and pages full of jokes, phrases in which, after a while ', you lose sight of the "who says what."
While the dialogue make the characters more "alive" do not forget, however, that his manic is suffocating. Everyone will happen to bump into so-called "buttonholer" means a person that is able to nail me for hours with a detailed account of the facts are absolutely safe. To avoid being
you buttonholer of the turn, when you write the dialogue, get to the place of your reader. There he was, you see? He sat in an armchair, armed best intentions of this world (he wants to finish reading the chapter before dinner), here is there another, clinging to the bracket in a crowded bus, with the elbow near the side and placed in curly hair of a fat that's tickling my nose.
How do you think will last the attention of these poor, while reading a dialogue that goes on for several pages? Three minutes maximum, after which the chair will stand in for something they invented to go into the kitchen and the guy on the bus, who has since lost in a desperate attempt to understand "who says what," decides to get off at the next stop and snebbiarsi take two steps for the mind, flooded by such dialogues type:
- situation: two friends, sitting at a table in a bar, talking to an acquaintance who was suffering from depression, who attempted to kill her husband. The first woman is a blond, forty year old special education teacher in an elementary school. It's called Vanda and behind a failed marriage. The other is Carla, thirty-five, a freelance journalist who deals with crime for a local newspaper.
-I did not think he would, it was not the type.
-How can you say? The human mind is a mystery.
-Yeah, but some things feel to the skin ... I spoke with her several times and has always given me the impression of being a balanced person-
... But please, do not make me laugh. If that is balanced, I'm Wonder Woman ...
-no joke, this is serious. You know me better than that, for certain things, intuition is better than a radar-
... Do not tell me you believe this crap! If I had entrusted to the intuition, you know how many corners I got ...
-Yeah, but you do not get to kill a man like this, there must have been by force of the warning signs.
-signs? Premonitions? But, stop ... I seem to talk to my mother. She is one who believes the hereafter, the bad luck, cats and blacks ...
sixth sense the sixth sense-What does it matter? This is about a murder in cold blood.
-Says who? No cold-blooded murder takes place, the author of the crime, however, is a human being so ... You're
-justifying this woman?
-not what I said. If you let me talk, you explain that the emotional component is always present in all our actions ...
The dialogue can go on forever, and if it is true that at times you can guess who is speaking (eg psychologist when referring to the emotional component and superstitions) for the remainder of the reader groping in the dark, lost in a maze in which there is no way out.
If your intent, then, is to deter, so go ahead, filling folders and folders of dialogue, but if, as I suppose, your efforts are to achieve the objective that must always be "to involve and captivate" the reader, then keep in mind the rule of "taste" of recipes. Enough! Do not exaggerate, the right measure in all things is the criteria that you must never give up.

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Smile, you are an employee of the State!

Now, smile and be polite will be an obligation for civil servants. This is the clear desire of the Minister Brunetta that threatens penalties for employees and managers "curmudgeons". So, the lazy way and smile, please! How it works? Simple. Just do not think the thick of the house to pay (Which takes up two thirds of your fabulous salary of one thousand euro), forget the bills (more and more greedy, the face of gasoline up and down), forget the mundane concerns related to the mean survival and ... smile! Of course you do not have to mind the Cape stresses you, the users often rude sgarbatissimi of many employees, the amount of work to dispose of which requires the Administration to plurilaureato skills and rewards you as you do with "cumprà vu." Not yet able to smile? Do not worry. A nice drop of mercury and, hey presto, the laughter is guaranteed ... and deadly.

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photos of the presentation "Do not step on our rights," UNICEF Rome

This is one of the photos were taken during the presentation anthology "Do not step on our right" that Piemme published on behalf of UNICEF. Here I am with the writer and journalist Elena Mora who is also one of the editors of the volume.

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Do not step on our rights: the video presentation in Rome

If you click on this link: http://www.c6.tv/archivio?id=6839 you can watch the video of the meeting at UNICEF headquarters in Rome, with Ms. Napolitano and children for the presentation of the book "Do not step on our rights," published by Piemme. I remind you that the sales proceeds will go entirely to Unicef \u200b\u200band Nelson Mandela Foundation to build schools in Africa. Christmas is coming, This book can be a nice gift idea as well as a small contribution to a great hope: to give children a future.

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Among the elements that we consider and on which we need to play well to get an effect of verisimilitude are the dialogues. It happens often to read the authors emerging, while appear to be satisfactory in terms of smoothness of the texts, a few "folders" later, they fall miserably in dealing with the dialogue.
Let me give an example: imagine an author who has described an urban landscape, it moves a bunch of misfits. How do you think should play a dialogue between George, the leader and one of the components the band?
The situation is as follows: the band has organized a robbery attack on a petrol station, but someone called the police and only Roberto managed to escape arrest. George, the Chief was not present and asks the report of the incident.
In the dialogue, the words used by "actors" should be as usual, the usual. Avoid the search words and obsolete terms that give effect to "plaster". The credibility and, therefore, the likelihood of the story is also built in this way. This does not mean that we must refer to a kind of "realism" modern, bringing words in dialogues and sayings regionalistic. Do not forget that the hypothetical reader can belong to any geographical area. Send a dialect too rich colorings, used for the purpose of making it "likely" dialogue, not only ends with the tired quickly but, above all, difficult to understand.
Returning to the example above, the dialogue between George and Robert, could be the following:
-were already there ... we were waiting. We have not even had time to say "crack" that ...
- Cut short, I want to know how you did it to fool you ...
- There they are found upon him, the bastard children of the attendant trapped in the closet ... The money is here, he said. Peter and Mark came first, Phil did not trust but eventually we fell for it ...
-And you? - George is the look of grim-How did you escape? You are not smarter than others, but ... you're here ...
As you can see, the words used are simple, as it happens in a real dialogue, but the words "bastard" and "crack" immediately give the idea of \u200b\u200bthe characters and 'social environment to which they belong.
beginners often make excessive use of strong terms, often vulgar or otherwise not needed. Excessive coloring of dialogues with ends soon disturb the reader and divert attention with the facts you are telling.
When you write dialogue, strive to imagine how your characters would speak if they were people of flesh and bones. Please keep in mind as a social category they belong, what is the context in which they live, who have cultural baggage behind.
It 'very unlikely indeed, as sometimes happens to me to read that an offender appears to involve a saying
-were already there waiting for us .... We have not had the time to understand what was happening.
- No more delay, explained!
-We have been lured into a trap ... the gas station, with an excuse, has managed to imprison the children in the back ... I think that the example
it's quite clear, all you have to do now is to practice with dialogues do not forget to read aloud what you wrote. Get used to "listen", but not everyone can give good results.

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All Conversations except one, Pina Varriale, ed. Piemme 2009

From today, all the libraries in Italian, there's my last book, published by Piemme: "All but one."

keep my fingers crossed e. .. hopefully good!

Julia would never have imagined that could happen to her. Certainly, his family does not ride, but the money to go shopping or go to the beach in the summer were never missed. One evening, But not Julia's father comes home from work, and when she seeks him in office, Mr. Nardelli told her candidly do not see the man for months, ever since he was fired. For Giulia is a cold shower. Is it possible that his father has not told anything to her and her mother, pretending to go to work every day? Where did you get the money to live and pay rent? And where is now fled? Giulia wants to discover the truth. But this is not his only problem, because from now on will have to cope with the harsh reality of being poor. Reading Age: from 10 years