A Creative Writing Handbook: Developing Dramatic Technique, Individual Style and VoiceA. & C. Black, 2009 - 415 páginas Packed with stimulating writing exercises, numerous quotes and over 30 extracts from literature across a wide variety of genres, this book will both inspire and assist anyone interested in creative writing. The book can be followed as a complete course or dipped into as desired. |
Dentro del libro
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Página 229
... rhyme that connects the lines . The rhyme signals to the reader that there is a relationship between the two lines ; that the positive consequence of looking at our emotions is that we move on to understand and to participate in the ...
... rhyme that connects the lines . The rhyme signals to the reader that there is a relationship between the two lines ; that the positive consequence of looking at our emotions is that we move on to understand and to participate in the ...
Página 230
... rhymes . After all , you have to find six b rhymes , and seven a rhymes . It's no use deciding to use , for instance , ' pilgrim ' , as one of your rhyme words , because there just aren't six or seven satisfactory rhymes . Starting a ...
... rhymes . After all , you have to find six b rhymes , and seven a rhymes . It's no use deciding to use , for instance , ' pilgrim ' , as one of your rhyme words , because there just aren't six or seven satisfactory rhymes . Starting a ...
Página 243
... rhyme in a number of ways - that is , if you still want to leave it as a sonnet . Graves and Fennelly show you two ways of doing this . Graves divides his poem into an octet and a sestet , and makes the sestet resolve the octet in an ...
... rhyme in a number of ways - that is , if you still want to leave it as a sonnet . Graves and Fennelly show you two ways of doing this . Graves divides his poem into an octet and a sestet , and makes the sestet resolve the octet in an ...
Índice
Playing with genre | 1 |
Conflict and contrast | 14 |
Vision and revision | 28 |
Página de créditos | |
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Términos y frases comunes
ACTIVITY actors adaptation analogy Andrew O'Hagan Annie asked audience Boori chapter character's contrast create Dalal Dalloway David Mamet dialogue door dramatic action extract eyes Faber and Faber father feel fiction film genre girl Griselda hand idiolect images imagine instance Lawrence Beesley layout lines listener London look Marje Marlene Marlow Mass-Observation Miss Botting monologue montage montage sequence narrative narrator never night Nijo novel opening Oscar and Lucinda pantoum passage Pause piece Plath play poem poetry radio radio drama reader Reading DISCUSSION Real Durwan remember rhyme rhythm Rose Tremain Ruth scene script seen sentences sequence sestina shot Singing Detective smiling sonnet speech stage status storytelling strands Sylvia Plath talking Tanika Gupta techniques Teddy tell tension theme things thought turn Ugwu Vicky villanelle Violin Violin Lessons voice voice-over watching woman words Writing DISCUSSION Yvonne