There’s a whole, diverse world of amazing fiction out there, and exploring it is a lot cheaper than other ways of travelling around the world.
It’s easy to look at a painting, for example, Van Gogh’s yellow bed and chair,, and respond with words. You might write a short story or a narrative poem about someone, possibly Van Gogh himself, who lived here. You might write a poem reproducing what you see in the painting, or something slightly more philosophical about bedrooms and their owners. But what do you write when the painting you are looking at is abstract?
It might seem obvious whether a book is a novel or a collection of short stories, yet I keep coming across books that seem to straddle both categories. So how can a book be both?
Parentheticals in a script are mini descriptions put into dialogue (in brackets), usually to describe emotion, or what the character is doing while talking, or the way the character delivers the dialogue.
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I’m currently writing a collection of short fiction exploring our relationship with animals. When I tell people this, they often ask me if it’s a book for children, and it’s true that many classics of children’s literature feature animals: Kenneth Grahame’s The Wind in the Willows (1908), E.B. White’s Charlotte’s Web (1952) and Richard Adams’ Watership Down (1972) all spring to mind, and if you search online for animal stories, many of the results are stories for children. But thinking about and appreciating the lives of animals shouldn’t be something we associate only with children.
The Cut-Up technique- in which words, or fragments of ideas are combined in random combinations- has a long artistic tradition. It is popularly associated…
The idea is that you can ‘use the site to read and/or write stories that take advantage of the possibilities of the digital medium by building in a lot of randomisation, so that a given story is different each time you load it.’
It’s only since I’ve been regularly reviewing books every month for a magazine that I’ve started to think about how I read, as well as how I write
Although all the artists have fascinating things to say, as a creative writer I prick up my ears when writers are talking, to see if I can pick up any tips, or just have that moment where you think…yes, that’s so true!
Since March is Women’s History Month it seems like a good time to celebrate the work of women writers from an earlier age. Fortuitously, as joint editor of NAWE’s Higher Education Journal, Writing in Practice No 5, I read an article by Sally O’Reilly analysing her approach to writing a historical novel, Dark Aemelia, (Myriad Editions, 2015) about Shakespeare and his relationship with Aemilia Lanyer, a contemporary poet, and a possible identity for the Dark Lady of his sonnets.
Amos Oz, who died in December 2018, has always been an important writer for me, not only because of his support for a two-state solution to the Israeli-Palestinian deadlock, but also because of his multi-part solutions to writing, whether it be with reference to subject matter, context, genre or viewpoint.