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346 Creative Writing Exercises For Dummies Bainbridge, Beryl (author) Every Man for Himself, 220 Bank, Melissa (author) The Girls’ Guide to Hunting and Fishing, 276 Barbery, Muriel (author) Gourmet Rhapsody, 145 Barker, Clive (author) Mister B. Gone, 98 Barry, Sebastian (author) The Secret Scripture, 70 Barry Lyndon (Thackeray), 237 Baxter, Greg (author) The Apartment, 238 The Beat Generation, 343 Beckett, Samuel (playwright), 202, 287 Before I Go to Sleep (Watson), 41, 265 believing in yourself, 344 The Bell Jar (Plath), 222–223, 295 belongingness, of characters, 107 Bennett, Alan (author) ‘The Clothes They Stood Up In,’ 158 Bettelheim, Bruno (author) The Uses of Enchantment, 192 bittersweet ending, 290 black colour, 139 Black Dogs (McEwan), 230 A Blade of Grass (De Soto), 298 Bleak House (Dickens), 179, 223, 273, 287 The Blind Assassin (Atwood), 104 Blixen, Karen (author) Out of Africa, 223 Blood Meridian (McCarthy), 249 The Bloody Chamber and Other Stories (Carter), 192 The Bloomsbury Group, 343 blue colour, 138 bodies, for characters, 57–61 body language, 81–84 Bohem, Endre (director), 32 The Book of Chameleons (Agualusa), 97 The Book Thief (Zusak), 96 Boyd, William (author) Any Human Heart, 237 brainstorming, 27–28 bridge story, 277–278 The Bridges of Madison County (Waller), 12 Bridget Jones’s Diary (Fielding), 45, 262 The Bridge of San Luis Rey (Wilder), 221, 277 Brighton Rock (Greene), 127 Brontë, Charlotte (author) Jane Eyre, 97, 140 Villette, 212 Brontë, Emily (author) Wuthering Heights, 69, 104, 127, 129, 178, 295 Brooke, Dorothea (author), 105 Brookner, Anita (author) Hotel du Lac, 297 The Brothers Karamazov (Dostoevsky), 96 brown colour, 139 Byatt, AS (author) Possession, 178, 240 • C • Call for the Dead (le Carré), 310 Calvino, Italo (author) If On a Winter’s Night a Traveller, 276 Camus, Albert (author) The Outsider, 224 Candide (Voltaire), 294 Capote, Truman (author) In Cold Blood, 295–296 career complications, with characters, 270 Carey, Peter (author) True History of the Kelly Gang, 92 Carrie (King), 45 Carter, Angela (author) The Bloody Chamber and Other Stories, 192 Cartwright, Anthony (author) The Afterglow, 69 Casablanca (film), 129 cast, size of, 151–152 Catch-22 (Heller), 224, 295 The Catcher in the Rye (Salinger), 296 Cat’s Eye (Atwood), 240
Index 347 Catton, Eleanor (author) The Luminaries, 103 Caught (Green), 158–159 The Cement Garden (McEwan), 178 central narrative question, 286–287 chair, 336 Chandler, Raymond (author), 151, 234 Chang, Jung (author) Wild Swans: Three Daughters of China, 237 chapters, 247–252 character driven story, 9 characters about, 37, 57, 105–106 activities of, 62–63 adding layers to, 106–115 bodies for, 57–61 cast of, 151–152 changing names of, 305–306 clothing, 64 colour in scenes, 140–141 complications with, 270–271 connecting with new, 268–269 contradictions of, 114–115 conveying, 66–74 creating clues to with objects and possessions, 164–166 CV of, 41–42 depth of, 119–124 diaries, 44–46 domestic life, 148 emotional make-up, 61–62 enhancing with description, 169–170 everyday tasks for, 147–149 exercises, 58–60, 61–62, 63–64, 80, 82, 84, 86, 107, 108, 109, 110, 111, 112, 113, 114, 115, 116, 118, 119, 121–123, 124, 148, 149, 268, 271, 315 expectations of, 114–115 experiences of, 106–107 family tree, 38–39 feelings of, 79–84 hobbies and interests, 112–113 homes for, 128–130 human needs of, 107–108 inner voice of, 84 introducing, 216 inventing and describing major, 58–60 involving in new plot lines, 269 letters, 44–46 life of, 108–111 mapping, 23–25 memories, 39–41 minor, 60–61 misunderstandings, 123–124 narratives for, 268–271 objects representing, 31–32 at play, 149 redundant, 314–315 reminiscences, 44–46 secrets about, 121–123 seriously deep, 37–44 sexuality and gender of, 115–118 sickness, 62 surrounding with physical objects, 63–64 thoughts of, 77–86 timeline, 42–44 weaving into new timeframes, 271 words for, 118 work life, 148–149 workplace relationships, 111–112 cheat sheet (website), 4 checking timeline, 309–310 Chekhov, Anton (author), 32 Chocolat (Harris), 145 The Chocolate Lovers’ Club (Matthews), 101 Christie, Agatha (author) The Murder of Roger Ackroyd, 265 A Christmas Carol (Dickens), 184 Cider with Rosie (Lee), 12 Citizen Kane (film), 198 City of Glass (Auster), 222 Clarissa (Richardson), 99 clichés, 192–193, 319–320 cliffhangers, 264 climax/climactic scene, 281–287 ‘The Clothes They Stood Up In’ (Bennett), 158 clothing, for characters, 64 Cloud Atlas (Mitchell), 101, 104, 244, 276 clues objects as, 32 in story for suspense, 263–264
Page 3 and 4:
Creative Writing Exercises by Maggi
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Contents at a Glance Introduction..
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Table of Contents Introduction.....
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Table of Contents vii Chapter 7: Co
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Table of Contents ix Foreshadowing
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Table of Contents xi Linking Differ
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Table of Contents xiii Part VI: The
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Introduction Creative writers come
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Introduction 3 ✓ You want your bo
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Part I Getting Started with Creativ
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Chapter 1 Preparing to Create Your
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Chapter 1: Preparing to Create Your
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Chapter 2 Sketching Out Ideas In Th
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Chapter 2: Sketching Out Ideas 23 C
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Chapter 2: Sketching Out Ideas 25 A
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Chapter 2: Sketching Out Ideas 27 B
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Chapter 2: Sketching Out Ideas 29 G
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Chapter 2: Sketching Out Ideas 31 U
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Chapter 2: Sketching Out Ideas 33 O
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Part II Realising That Character Is
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Chapter 3 Developing Your Character
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Chapter 3: Developing Your Characte
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Chapter 4 Creating Drama through Di
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Chapter 4: Creating Drama through D
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Chapter 5 Embodying Your Characters
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Chapter 5: Embodying Your Character
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Chapter 6 Developing Your Dialogue-
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Chapter 6: Developing Your Dialogue
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Chapter 7 Conveying Characters’ T
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Chapter 7: Conveying Characters’
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Chapter 8 Choosing and Using Differ
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Chapter 8: Choosing and Using Diffe
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Chapter 9 Creating Complicated, Wel
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Chapter 9: Creating Complicated, We
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Part III Painting the Picture with
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Chapter 10 Navigating the Locations
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Chapter 10: Navigating the Location
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Chapter 11 Appreciating the Power o
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Chapter 11: Appreciating the Power
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Chapter 12 Getting Things Done: Des
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Chapter 12: Getting Things Done: De
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Chapter 13 Building Character with
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Chapter 13: Building Character with
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Chapter 14 Using Description to Cre
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Chapter 14: Using Description to Cr
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Chapter 15 Managing Metaphors, Simi
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Chapter 15: Managing Metaphors, Sim
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Chapter 16 Describing the Inef fabl
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Chapter 16: Describing the Ineffabl
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Part IV Developing Your Plot and St
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Chapter 17 Writing a Gripping Openi
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Chapter 17: Writing a Gripping Open
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Chapter 18 Plot ting Your Way to Gr
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Chapter 18: Plotting Your Way to Gr
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Chapter 19 Making Good (Use of) Tim
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Chapter 19: Making Good (Use of) Ti
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Chapter 20 Structuring a Longer Wor
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Chapter 20: Structuring a Longer Wo
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Chapter 21 Tightening the Tension t
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Chapter 21: Tightening the Tension
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Chapter 22 Expanding Your Ideas int
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Chapter 22: Expanding Your Ideas in
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Chapter 23 Approaching the Grand Fi
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Chapter 23: Approaching the Grand F
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Page 311 and 312: Chapter 23: Approaching the Grand F
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Page 315 and 316: Part V Polishing Your Product: Revi
Page 317 and 318: Chapter 24 Reviewing and Rewriting
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Page 329 and 330: Chapter 25 Whipping Your Work into
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Page 337 and 338: Chapter 26 Polishing Your Work for
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Page 347 and 348: Part VI The Part of Tens Find an ad
Page 349 and 350: Chapter 27 Ten Top Aids for Writers
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Page 357 and 358: Finding a Supportive Reader Chapter
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Page 361: Index • A • accents, 67-68 Acco
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Page 369 and 370: Index 353 Infinite Jest (Wallace),
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Page 373 and 374: Index 357 personal conflict, 229 pe
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Page 377 and 378: Index 361 origins of, 196 universal
Page 379 and 380: Proudly sourced and uploaded by [St
Page 381 and 382: About the Author Maggie Hamand is t
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