YOUR COMPLETE GUIDE TO WRITING BELIEVABLE AND AUTHENTIC DIALOGUE, CONVERSATION AND SPEECH IN YOUR CREATIVE WRITING. This smart and comprehensive creative writing guide uses practical tips, exercises and expert advice to show you how to w,rite superb dialogue that will help your book stand out from the crowd.
YOUR COMPLETE GUIDE TO WRITING BELIEVABLE AND AUTHENTIC DIALOGUE, CONVERSATION AND SPEECH IN YOUR CREATIVE WRITING. This smart and comprehensive creative writing guide uses practical tips, exercises and expert advice to show you how to w,rite superb dialogue that will help your book stand out from the crowd.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Irving Weinman is an American author who has written 6 published books, for publishers including Faucett and John Daniel, and has contributed to the New York Times Book Review. He teaches Creative Writing at the University of Sussex.
Inhaltsangabe
* : 1 An Overview of Dialogue * : 1 An Overview of Dialogue * : 2 Character in Dialogue I (dialogue in character) * : 2 Character in Dialogue I (dialogue in character) * : 3 Narrative in Dialogue * : 3 Narrative in Dialogue * : 4 Dialogue in Narrative (non 'scene' dialogue) * : 4 Dialogue in Narrative (non 'scene' dialogue) * : 5 Versions of Dialogue (monologue, thoughts, letters, diaries, voice messages) * : 5 Versions of Dialogue (monologue, thoughts, letters, diaries, voice messages) * : 6 Dialogue and Indirect Speech * : 6 Dialogue and Indirect Speech * : 7 Transitions in and out of Dialogue * : 7 Transitions in and out of Dialogue * : 8 Dialogue Imitations of Reality (crowds, multiple speech, interrupted speech, foreign languages) * : 8 Dialogue Imitations of Reality (crowds, multiple speech, interrupted speech, foreign languages) * : 9 Character in Dialogue II (using dialogue to learn about your characters: the art of not listening, getting them angry, letting their hair down) * : 9 Character in Dialogue II (using dialogue to learn about your characters: the art of not listening, getting them angry, letting their hair down) * : 10 The Far Reaches of Dialogue (experimental approaches, shifting dialogue between characters) * : 10 The Far Reaches of Dialogue (experimental approaches, shifting dialogue * : between characters) * : 11 Dialogue in Summary (some exercises, some suggested reading) * : 11 Dialogue in Summary (some exercises, some suggested reading) * : 11 Dialogue in Summary (some exercises, some suggested reading)
* : 1 An Overview of Dialogue * : 1 An Overview of Dialogue * : 2 Character in Dialogue I (dialogue in character) * : 2 Character in Dialogue I (dialogue in character) * : 3 Narrative in Dialogue * : 3 Narrative in Dialogue * : 4 Dialogue in Narrative (non 'scene' dialogue) * : 4 Dialogue in Narrative (non 'scene' dialogue) * : 5 Versions of Dialogue (monologue, thoughts, letters, diaries, voice messages) * : 5 Versions of Dialogue (monologue, thoughts, letters, diaries, voice messages) * : 6 Dialogue and Indirect Speech * : 6 Dialogue and Indirect Speech * : 7 Transitions in and out of Dialogue * : 7 Transitions in and out of Dialogue * : 8 Dialogue Imitations of Reality (crowds, multiple speech, interrupted speech, foreign languages) * : 8 Dialogue Imitations of Reality (crowds, multiple speech, interrupted speech, foreign languages) * : 9 Character in Dialogue II (using dialogue to learn about your characters: the art of not listening, getting them angry, letting their hair down) * : 9 Character in Dialogue II (using dialogue to learn about your characters: the art of not listening, getting them angry, letting their hair down) * : 10 The Far Reaches of Dialogue (experimental approaches, shifting dialogue between characters) * : 10 The Far Reaches of Dialogue (experimental approaches, shifting dialogue * : between characters) * : 11 Dialogue in Summary (some exercises, some suggested reading) * : 11 Dialogue in Summary (some exercises, some suggested reading) * : 11 Dialogue in Summary (some exercises, some suggested reading)
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