How do we properly manage the state of transition between unknown and known?
I often have a passage that sounds like this. I don't know why, but I always found these passages a bit odd sounding.
A stranger was lying, face into the sands, belly down, on the beach all alone. As it turned out the stranger was Roberto, one of Isabella's many friends. Hearing someone approaching him, Roberto pulled himself up onto his hips and turned his gaze towards Isabella. She was unusually beautiful that day, wearing a short yellow skirt and a cropped white top.
Is there a way to avoid naming them like this in this very stereotypical way and just name the person even if the person was never introduced?
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