With just three days to go until the deadline for our OWT short story competition, one of our judges makes an emotional plea: please, writers of the world, once and for all can we stop going on about eyes!
Do you write stylised dialogue or naturalistic dialogue or something in between? What are the benefits and pitfalls of writing dialects and accents? Should you use phonetic spellings? If you do want your dialogue to be close to spoken language, what techniques can you employ to make conversations sound natural? D.D. Johnston takes a look at the tricky business of writing different voices.
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Why is it that bikinis are sexy and naturism isn’t? Why do we never get to see the Blair Witch? And who cares whether your protagonist has attached earlobes? D.D. Johnston discusses the importance of being selective when describing your fictional world.
Having talked previously about when you should and shouldn’t write in the first person, in this video D.D. Johnston considers dramatic irony and how you can add complexity by using a peripheral narrator or an unreliable narrator.
Heading off to start a Creative Writing degree this September? Lucky you. If you’re wondering what to expect, here are some tips from Philip Bowne, who has just finished his degree in Creative Writing, and D.D. Johnston, who has taught Creative Writing at the University of Gloucestershire since 2010.
Phil: Studying Creative Writing has been worthwhile for me in so many ways. The lecturers and the course itself helped me to get my work published in magazines and anthologies, work for a month as a travel writer, and gain the confidence to read my own writing out on stage. But in my first year, I wasn’t so sure how to go about studying Creative Writing. I wasn’t even sure I was capable of doing it.