HIGHER CREATIVE WRITING - STORY WRITING Keep stories SIMPLE and LOW-KEY; focus on HOW THE STORY IS TOLD.

Loo at t!ree t"pes of stor"# $. The Match% persona & ie puttin' "ourse(f in t!e p(ace of); first person narrati*e; a si+p(e e*ent or near-e*ent). ,. Bill McLaren Was My PE Teacher % incident fro+ c!i(d!ood re-fas!ioned; different st"(es of -ritin' &use of co++entar"); dia(o'ue. .. Geranium % stor" centred round a +etap!or; a snaps!ot of a re(ations!ip. A. STORYLINE: /n" e*ent or near-e*ent can ser*e as t!e 0asis for a stor"(ine. / stor"(ine !as t!ree p!ases# $. Beginning % sets scene1 c!aracter1 tone and e2pectations ,. Middle - a) 0ui(d up 0) c(i+a2 or anti-c(i+a2 .. Ending % (ea*es t!e reader -it! e2pectations fu(fi((ed or das!ed Types o Ending: a) H!ppy % -!ere t!e +ain c!aracter -ins etc1 and e*er"t!in' -or s out. 0) S!d % -!ere t!e +ain c!aracter (oses etc1 and t!in's !a*e not -or ed out &e' King of the Castle). c) Bi""e#s$ee" % -!ere so+e t!in's -or out 0ut ot!ers do not &e' The Match). d) I#oni% % -!ere t!in's -or out in t!e -a" t!at c!aracters !ad p(anned to a*oid &e' Animal Farm). e) T$is" in "&e T!le % an une2pected or surprise endin' &e' +an" Roa(d Da!( s!ort stories). f) Cli &!nge# % -!ere t!e reader is (eft to supp(" t!e endin' &e' The Italian Jo ). ') M'l"iple % -!ere t!e -riter supp(ies *arious endin's and t!e reader !as to c!oose &e' Frea!y Fri"ay# French Lieutenant$s Woman). !) Se('el endin' % -!ere a(( is not reso(*ed &e' t!e 0addie 'ets a-a") and roo+ is (eft for a fo((o--up. Your c!oice of Endin' !as to ta e into account )o"& t!e e2pectations set up in t!e 3e'innin' !nd t!e -a" in -!ic! "ou !a*e 0ui(t t!e stor" up in t!e Midd(e. 3. NARRATOR# T!e c!oice of narrator -i(( +a e an enor+ous difference to !o- t!e stor" is to(d &e' co+pare The Catcher in the %ye -it! &light %e ellion off Ma"ison'( Types o N!##!"o## a) Ne'"#!l % -!ere t!e narrator 4ust see+s to 0e t!e aut!or and at a distance fro+ t!e stor" &e' Geranium). 0) M!in %&!#!%"e# % -!ere t!e stor" is to(d fro+ t!e point of *ie- of t!e c!aracter +ost in*o(*ed &e' The Match# Catcher in the %ye# The )sual Please). c) Se%ond!#y %&!#!%"e# % -!ere t!e stor" is to(d 0" a c!aracter -!o is part of t!e stor" 0ut not at its centre &e' &*it +olan; The Great Gats y). d) 5arrator $i"& *!""i"'de+ % -!ere t!e narrator is not part of t!e stor" 0ut continua((" co++ents on it and on t!e issues it 0rin's up &e' Eraser$s ,ilemma). e) M'l"iple narrators % +ore t!an one narrator1 eac! 'i*in' t!eir o-n perspecti*e on t!e stor" &e' Bill McLaren; Confessions of a Justifie" &inner). f) 5arrator $i"&in ! n!##!"ion - t!is +i'!t 0e a (etter or so+eone recountin' to ot!er c!aracters1 etc &e' Mrs Fris y).

C. A,-IENCE: T!e 'enre of a stor" -i(( often define t!e audience of a stor". T!e stor" -i(( 0e to(d in a -a" t!at fits in -it! t!e audience6s e2pectations &or de(i0erate(" 0rea s t!e+). Ho-e*er1 e*en -it!in t!is1 t!ere are different "ypes o !'dien%es# a) Gene#!l non-specific audience. 0) Spe%i i% audience - e' c!i(dren1 particu(ar interest 'roup suc! as foot0a(( fans1 peop(e fro+ a particu(ar (oca(it" &e' The )sual Please). c) /n audience $i"&in "&e s"o#y % t!is is 0est seen in t!e tec!ni7ue of Dra+atic Mono(o'ue -!ere t!e narrator !as a purpose in te((in' t!e stor" to t!e audience &e' My Last ,uchess). T!e co+0ination of t!e narrator and audience -i(( deter+ine t!e TONE of t!e -ritin'. D. STR,CT,RE# You !a*e a c!oice of !o- "ou put "our stor" to'et!er# a) In ! line!# fas!ion - -!ere t!e stor" is to(d fro+ 0e'innin' to end. 0) In a #e"#ospe%"i.e fas!ion - &e' f(as!0ac ) -!ere "ou start t!e stor" at or near t!e end1 return to t!e 0e'innin' and t!en -or to-ards t!e end. c) In a #!g/en"ed fas!ion % -!ere t!e 0its of t!e stor" are to(d1 0ut not necessari(" in t!e order t!at t!e" occur. Ho-e*er1 -!ic!e*er of t!ese "ou c!oose1 "ou sti(( need a 8R/MEWORK for "our stor". You !a*e to +o*e t!e stor" for-ard in 3LO9KS of - Ti/e - 0l!%e &e' The Match# The )sual Please) - E.en" &e' Bill McLaren) Keep t!e reader infor+ed 0" SI:5POSTI5: t!e different 0(oc s of t!e stor". E. STYLE# More t!an an"t!in' e(se1 "ou need to eep in +ind t!at it is not t!e stor" t!at counts1 0ut t!e -a" in -!ic! t!e stor" is to(d. /(( t!e points a0o*e co+e to'et!er in t!e STYLE. So/e 1ey !spe%"s o s"yle !#e# a) /n arrestin' opening sen"en%e &e' The )sual Please). 0) T!e use of a #e%'##ing i/!ge or reference &e' Geranium; t!e !untin' !at;0ase0a(( '(o*e;duc s in Catcher). c) / %&!nge of st"(e or narrator for effect &e' Bill McLaren) d) T!e use of di!le%" &e' The )sual Please# Eraser$s ,ilemma) e) Co//en"s on particu(ar issues 0" t!e narrator or a c!aracter &e' The )sual Please# The Match# Catcher). f) Effecti*e use of de"!il % -!ere a particu(ar detai( su+s up a c!aracter or situation or -!ere a (ist of detai(s 'i*es a sense of 0ein' t!ere. ') <se of e2p#essi.e l!ng'!ge# - $o#d %&oi%e - "e%&ni('es &suc! as a((iteration1 si+i(e1 repetition1 etc) - 'n's'!l sen"en%e s"#'%"'#es. HOWEVER3 "&e only $!y "o de.elop "&e s1ills o s"o#y"elling is "o WRITE STORIES !nd "o "#y o'" di e#en" n!##!"o#s3 !'dien%es3 s"#'%"'#es !nd s"ylis"i% de.i%es )o"& on di e#en" s"o#ylines !nd on "&e s!/e s"o#yline.