Diego Cajelli – Interview with one of the authors of the Hoe and the Sword
Professional writer, screenwriter, author Bonelli, and more: interview with Diego “Diegozilla” Cajelli, one of the authors of the Hoe and the Sword!
To unleash the fire that destroyed the osteria della Scrofa Lanuta, was a small oil lamp, lit by a wanderer who was afraid of being robbed during the night. The light fell to the ground while everyone slept, rolled on the floor messy in the dorm, and the fire jumped immediately to the wood and the straw.
Many guests of the tavern were too drunk to notice what was happening to them, embraced a sleep made invincible by vinaccio served at the tables. A red wine of blood, that stained the lips and the cups.
The others woke up too late to be able to escape. Still others were trapped under the roof that collapsed, dragging with it the two floors of the building in a cloud of embers. The fire destroyed the main building and then extended to the remittance of the animals, making the slaughter of horses and hens.
At dawn, the inn's Sow's Lanuta remained only a pile of rubble burned, enveloped by the stench terrible of burned flesh.
In the fumes of that landscape of hell, among the ruins still hot and the last outbreaks, it was moving a guy. He was slender in figure, with the neck long and the head small. Its appearance resembles that of a Ferret, and was similar to the animal even in the movements. For that reason he had earned over the years the nickname of Nottolo.
Now accustomed to call himself so, he had forgotten his real name.
Now lacks only a week's dry to the expiry of the deadline for submission of stories for theanthology, Hoe, and Sword of Acheron Books, the first collection of short stories, a Spaghetti Fantasy of the world, of history and of literature of all time (or so).
You do still have time to write and send us your story, seen that the length designated is between 5 and 15 folders publishing, a size all-in-all feasible in a short time.
And so, after Alessandro Vincenzi, Jari Lanzoni, Federica Leonardi, Mala Spina and David Mana, it is time to have a chat with one of the most important Italian professionals of the writing adventure and fantasy.
Now, here is your...
I like to write. Everything that I do, including getting up on stage to do the comedian, part of writing.
I write and I keep writing more or less since 1993, I have decided to apply a horizontal approach to writing, specializing in not being specialized in one kind only or in a context only.
What I like most is the variable, today, is one thing, tomorrow it may be another thing. Base, the thing that I like most to write is the one that I am writing at this time.
On the skill, the speech is complex. I think I have a quality standard so to speak: “certificate”. Do not throw ever anything away, I do not go to savings when I write and are able to deliver the material is decent and publishable. Then there are the things that they are better than other. Behold, in these terms, what I is better are stories from the high rate of tamarria, pop, and if there are guns that shoot it is better.
I think it's a mix between the direction of the scenes and edited dialogue.
I'm quite picky about dialogue, and I think, I hope, I hope that this determination can be felt and perceived by the readers.
I have a conflictual relationship with the web and with social networks.
Have changed in a clear way and irreversible.
I think, seriously, that the web mass has violated the prime Directive of Star Trek, with all the consequences of the case.
I read more essays and novels. In fact, I read so little fiction that I feel constantly guilty. But, as always, I prefer to read essays.
Among the authors of fiction I love Lee Child. Add us also to Stephen King for the issues generation.
I do a lot of, a lot of effort to write fiction, I play hundreds of alarm bells, and what I write I do not like ever. Writing prose for me is synonymous to rewrite the constant, continuous, rewrite, fix, fix up to the exhaustion.
Lombardy, late middle ages, the burning of an inn, puts three characters in the conditions to embark on an adventurous journey in search of a not well specified ultimate prize.
I chose to write all dialogue in a sort of “Italian archaic vernacular”, on the basis of historical texts, etymological dictionaries and the forms of dialect. The dialogues are very, very close to those who wrote Age, Scarpelli and Monicelli for The Armata Brancaleone. I wanted to pull off a fantasy tramp, typically Italian, and cutting comedy.
I hope to do that!