By Bill Greenwell, Linda Anderson, Derek Neale

An inspiring diversity of techniques to counterpoint your writing abilities. jam-packed with stimulating writing workouts, a variety of rates and over 30 extracts from literature throughout a large choice of genres, the booklet will be as an entire path or dipped into all through. Accessibly written by means of 3 released writers and skilled academics from best inventive writing associations, it is a wealthy sourcebook of ideas containing: hard writing routines to extend the writer's strategy and 'voice'innovative methods of constructing fiction and poetry stylesin-depth introductions to degree, radio and movie writinginsights into the way in which assorted genres have interaction and the way to conform tales for performanceadvice on structure presentation of work"What is beguiling concerning the writing is the fashion - those will not be educational propositions: they're translations from adventure and perform" David Morley, Professor in artistic Writing, Warwick college

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Additional info for A Creative Writing Handbook: Developing Dramatic Technique, Individual Style and Voice

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Flax byssinosis occurs mainly but not exclusively in those preparing flax for spinning. After a number of years of exposure the worker begins to experience chest symptoms on a Monday. These are tightness in the chest, breathlessness and a cough. The symptoms get worse as the day goes on. As time passes the trouble comes on a Tuesday too, and then successively on other days of the working week. At the weekend there is relief, and on the Monday following another exacerbation. Monday is always the worst day.

There was none but yourself to blame if it ended in tears. What does it matter now? No, no, nobody left the skidmarks of sin on your soul and laid you wide open for Hell. You were loved. Always. We did what was best. We remember your childhood well. DISCUSSION The speaker(s) in Duffy’s poem (they do seem rather forbiddingly to be in the plural) suggest in an unpleasant way that ‘they’ have the ‘facts’, while the addressee has ‘the impressions’. Their voices are made dominant by the way Duffy uses strong internal and final rhymes (‘moors’, ‘saw’, ‘door’ in the first stanza, ‘occur’, ‘blur’ in the second stanza, and so on).

This kind of contradiction is what makes the play strong drama. Rivalry is always fertile ground for a writer. This is particularly true of sibling rivalry, because the siblings you create will have as much in common (their childhood experience) as they have differences. However, your contrasting characters do not have to belong to the same family. They might be lovers or partners. They might even be allies, or they might work together. The essence of Laurel and Hardy films is that the two are yoked together, but do not, most of the time, get on.

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A Creative Writing Handbook: Developing Dramatic Technique, Individual Style and Voice by Bill Greenwell, Linda Anderson, Derek Neale

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