By Bill Greenwell, Linda Anderson, Derek Neale
An inspiring diversity of methods to counterpoint your writing abilities. choked with stimulating writing workouts, various rates and over 30 extracts from literature throughout a large choice of genres, the publication will be as a whole path or dipped into all through. Accessibly written through 3 released writers and skilled lecturers from best artistic writing associations, this can be a wealthy sourcebook of strategies containing: hard writing workouts to extend the writer's procedure and 'voice'innovative methods of constructing fiction and poetry stylesin-depth introductions to degree, radio and picture writinginsights into the way in which various genres engage and the way to evolve tales for performanceadvice on structure presentation of work"What is beguiling in regards to the writing is the fashion - those usually are not educational propositions: they're translations from adventure and perform" David Morley, Professor in inventive Writing, Warwick collage
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Additional resources for A Creative Writing Handbook: Developing Dramatic Technique, Individual Style and Voice
Coe, Jonathan (1997) The House of Sleep, London: Viking. Duffy, Carol Ann (1990) The Other Country, London: Anvil. H. (1999 ) Birds, Beasts and Flowers, Harmondsworth: Penguin. 26 2 CONFLICT AND CONTRAST Further reading Raban, Jonathan (1968) The Technique of Modern Fiction, London: Edward Arnold. Long before his ﬁrst published ﬁction and life writing, Raban discussed the close relationship of the two genres. This is a good general introduction. ) (1991) The Best of Granta Travel, London: Granta.
If, for instance, you are writing a piece set in a past decade or century, it is important to make your detail believable, and even informative. After all, we often read ﬁction for the pleasure of the information as well as for the 28 3 VISION AND REVISION pleasure of the narrative, character and setting. And you can be sure, especially in the case of historical novels, that astute readers will spot the smallest factual error. Looking for potential It is also useful to think of researched material as that which has the potential to be adapted into something more dramatic.
8 Writing Go for a walk, or on a journey, with another person. Agree to write down your observations, and to discuss what you saw a few days later. Use these observations to write two ﬁrst-person narratives (up to 200 words each) which draw on the two separate experiences. See if you can exaggerate the differences between them – inventing details, if you like. DISCUSSION 22 Your perception – your focus, your sensory experience – is likely to have been quite different from the other person’s. You will no doubt have found 2 CONFLICT AND CONTRAST that you have left out all kinds of details which the other person has put in, and vice versa.