Titlebook: Creative Writing; Julia Casterton Textbook 1998Latest edition Macmillan Publishers Limited 1998 creative writing.edition.energy.experience

Lasting

The Space We Inhabit,find that many new writers’ stories and poems seem to occur in a spatial and social vacuum: the writer launches straight into an account of action, ideas, thoughts, feelings, without giving any clear sense of where all this is taking place. The result is that the reader feels lost — because the writ

配置

Bringing your Descriptions to Life,lf biting into the lemon. The lemon became real for you; your imagination tricked your body into believing it would have to cope with a mouthful of pure citrus. That is one of the things that writing does: it entices the reader into an ‘unreal’ world, a world ‘really’ only composed of funny marks on

平庸的人或物

Making your Characters Speak,p to himself there?’ In our everyday lives we learn about people in many ways: the way they eat, their clothes, their scent, their movements, the way they hold themselves. But speech is one of the most revealing aspects of a person. We listen to the tone of their voice. Does it rankle and jar or do

Cumulus

Making a Short Story,at omit one or more of these to create a new effect or emphasis. You have worked on all these aspects of narrative in your exercises. If you mixed all your pieces of writing together, would they make a story? Or does a short story need something else, and if so what is it?

環(huán)形

沙發(fā)

Ligneous