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360 Creative Writing Exercises For Dummies Snowdrops (Miller), 134 social conflict, 229 Socrates (philosopher), 211 Solzhenitsyn, Aleksandr (author) One Day in the Life of Ivan Denisovich, 238 Soueif, Ahdaf (author) The Map of Love, 240 sound, 141–143 sounds of words, 208–209 Spark, Muriel (author) The Driver’s Seat, 243 speech marks, 78 speech slip-ups, 73 speech tags, 49 speeches, 75–76 spelling, 322–324 spoonerism, 73 A Spy by Nature (Cummings), 120 The Spy Who Came in from the Cold (le Carré), 10, 221, 311 statement-of-fact openings, 224 Steinbeck, John (author) The Grapes of Wrath, 178 Stevenson, Robert Louis (author) Dr Jekyll and Mr Hyde, 307 Strange Case of Dr Jekyll and Mr Hyde, 183 Stockett, Kathryn (author) The Help, 101 Stoker, Bram (author) Dracula, 45, 265 Stoner (Williams), 180, 293 story arc, 280–281 Strange Case of Dr Jekyll and Mr Hyde (Stevenson), 183 structure about, 247 changing, 306 chapters, 247–252 exercises, 249, 251, 253–254, 255, 256 narrative threads, 252–254 parts, 247–252 playing with, 254–256 scenes, 247–252 subjective experiences, communicating, 205 subjective viewpoint, 88 subjects, threading together with themes, 275–276 subjunctive, 324 subplots, 252–254, 269 subtext, 56 A Suitable Boy (Seth), 220 Suite Française (Némirovsky), 45 summary, 317–318 The Sun Also Rises (Hemingway), 152, 294 superstitions, 160–162 supportive reader, 341 surprises, in plot, 232–234 Süskind, Patrick (author) Perfume, 144 suspense about, 167, 257 cliffhangers, 264 clues, 263–264 coincidences, 183–184 creating, 258–259 doubles, 183 dreams, 185–186 events, 174–175 exercises, 170, 173, 175, 182, 183, 184, 185, 186, 258, 260 foreshadowing events for, 170–175 gaps in narrative, 264–265 ghosts, 182–183 narrative pace, 259–262 objects, 174–175 omens, 171–174 premonitions, 185–186 prophecies, 171–174 uncanny, 181–186 visions, 184–185 visitations, 184–185 swear-words, 71 Swift, Jonathan (author) Gulliver’s Travels, 207 symbols about, 187, 195 deep meanings of, 201–202 exercises, 197, 198–199 individual, 198–199 objects and possessions as, 32, 159–164
Index 361 origins of, 196 universal, 196–198 Symbols of Transformation (Jung), 196 synchronicity, 231 • T • A Tale of Two Cities (Dickens), 293 Tales from Firozsha Baag (Mistry), 129, 276 targets, meeting, 340 task target, 8 taste, 144–145 Tender Is the Night (Scott Fitzgerald), 306 The Tenderness of Wolves (Penney), 131 tension. See suspense Tess of the d’Urbervilles (Hardy), 273 The Testament of Mary (Tóibín), 311 texture, 146 Thackeray, William Makepeace (author) Barry Lyndon, 237 Vanity Fair, 97–98 themes about, 272–275 mapping main, 25–26 mirroring, 253 threading together with subjects, 275–276 thesaurus, 334 third-person limited technique, 93–95 third-person narrative styles, 98–99 third-person voice, 88, 93–95 The Thirteenth Tale (Setterfield), 104 thoughts, for characters, 77–86 threads, 281 time about, 235 conventional narratives, 236–238 exercises, 237, 238, 243–244, 245 flashbacks, 239–241 future, 243–244 hindsight, 241–243 mixing up, 244–245 past, 239–243 playing with, 243–246 time constraints, 54–55 time pressure, 261–262 time target, 8 time travel, 245–246 timelines for characters, 42–44 checking, 309–310 exercises, 236 The Time Machine (Wells), 245–246 The Time Traveller’s Wife (Niffenegger), 101, 102, 244 Tip icon, 3 Tipping the Velvet (Waters), 136 title, planning, 11–12 To Kill a Mockingbird (Lee), 242 Tóibín, Colm (author) The Testament of Mary, 311 Tolkein, JRR (author) The Hobbit, 18, 129 The Lord of the Rings, 13, 18, 31, 66, 129, 253, 281, 286, 287, 297, 312 Tolstoy, Leo (author) Anna Karenina, 83, 171, 185–186, 220, 253, 268, 273, 281 Kholstomer, 206 War and Peace, 73, 98 Tom Jones (Fielding), 250 Torday, Paul (author) Salmon Fishing in the Yemen, 100 touch, 146 Track Changes function, 303 Tractatus Logico-Philosophicus (Wittgenstein), 204 tragedy, 226 tragic ending, 289 The Treachery of Images (painting), 196 The Trial (Kafka), 222 True History of the Kelly Gang (Carey), 92 Tsiolkas, Christos (author) The Slap, 101, 212 The Turn of the Screw (James), 182, 212 Twenty Bucks (film), 32 24 Hours (Iles), 238 twist ending, 290 twists and turns, in plots, 231–232 Two Caravans (Lewycka), 68
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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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Part V Polishing Your Product: Revi
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Chapter 24 Reviewing and Rewriting
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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 373 and 374: Index 357 personal conflict, 229 pe
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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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