Well, in my humble opinion there is no recipe, none of us can tell you to do it this way or another because it is something that you must find within yourself. It's about the narrative voice, you understand? Which, along with the style, will provide you with a unique tone to tell things about; but you can only modify or circumvent the rules if you know them. On the other hand, your bedside bible should be
On Writing, by Stephen King. IM going so fast? Darling, you seem even more hasty, so get that book right away. There is no recipe, I repeat, except for the experience that will give you writing over and over again and the critic that will grow in you as a result of reading both books. A slight poll in this same forum will allow you to have a closer idea of what is appropriate to read. If you wish, track my own posts and you will see what I advise to read in that regard. Regarding building the perspective of the character, description or narration, etc., we have already thrown all the dishes in our heads and to have, so the solution is also to dive into the forum.
Orthodox form ... Honey, pull out those cobwebs, the first requirement of a writer is his aggressiveness and the second his audacity. Wake up.
What are the best examples of first-person narration or inner dialogue / monologue (describing the situations, conversations, action..etc)? Again
Godzilla King.
On Writing. It will be clear in less the time of a beer.
Anyway I will give you a kind of summary with what I will write next, but you must be aware that I am parachuting you when you still do not know how to fold it. But you are asking for advice and it is my duty to provide it.
Theory of communication in a minute: you are the sender of the message, therefore the message must be an arrow, and depending on how well armed that arrow is and the ability of the issuer or archer is the impact it will have on the reader . Having that already clear, when writing I recommend using the American advertising model of the 30s. AIDA. Action, interest, desire and action, the latter, on the part of the reader. Study everything related to the opening phrase or hook phrase. Half of the advertising is dedicated to studying how with a sentence you capture the interest of the reader.
That can also be starting with a dialogue, in the traditional way, or in a sneaky way, if the narrator of your story does it in the first person. This type of narrator is actually a monologue, therefore it offers immediate advantages in the sense that you save the dialogue between quotation marks and only reserve it for the interventions of the other characters.
The style of the story defines the same way in which you have to present the dialogues. But your interest should be that your reader does not take his head off your book. For this there are many techniques: you have the flip, umlaut versus diegesis, double splicing, racconto, cause effect, ellipsis, cliffhangers, etc., but regardless of that, each paragraph must have a narrative intention and be attractive in itself. Which also concerns dialogue. In a movie one detects immediately, and it looks horrible, when a character says something or describes something because it is the only way. But a character describing things makes the reader immediately close the book. Keep that in mind. The abundance of dialogue also tires the reader. Damn Netflix. This is literature, man. The more television you watch, the less a writer you are because you are writing with your mind on the screen.
