The Creative Writing Workbook Create and Develop the Writer Within

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A brilliant and very cool guide. Whether explorers, spies, ghosts, aliens or heroes and villains are the protagonists, practical advice and activities help children create characters, develop thrilling plots and stage exciting action scenes. Unputdownable stories are the result! You'll get ideas to help you turn your own experiences and stories about your family, friends and pets into poems as well as advice about how to get started or unstuck when writing.

From how to write for a specific audience or purpose to overcoming writer's block and selecting the right words for each genre, this book gives children the tools they need to make writing fun. The advice will help them produce stories about haunted houses, eccentric detectives, cursed tombs and more, with specific tips on how to plan a story and build suspense.

Plenty of "talking point" boxes aim to offer story starters and spark new creative ideas and "word boxes" help develop vocabulary. There are plenty of drawing spaces, too, including a space to illustrate a personalised book cover. The second half of the book is presents different story themes to write about, from murder mysteries to tales from outer space.

Highly recommended. KS1 creative writing toolkit and KS2 creative writing toolkit , TheSchoolRun Help your child harness their imagination and share their stories in writing with our KS1 and KS2 creative writing learning packs, available as part of a TheSchoolRun subscription. Bursting with fill-in prompt sheets and inspiring ideas to get even the most reluctant writer started, they're a great way to encourage children to put pen to paper.

Lots of space to write in, but no scary blank pages! More like this. It transpired she was a school governor, served on three committees, sang in a choir, and did volunteer work in a hospital. Then she said that recently she had begun to wonder whether she was also using it to avoiding writing in case she could no longer do it well enough.

See a Problem?

How important is writing to you? List all your current projects and activities. Do you need to be free from distractions, or can you work at the kitchen table while your two-year-old plays football with the saucepans? How important is the decor? X Take a few moments to imagine your ideal workspace — no restrictions.

X In your present circumstances, how close can you come to that ideal? X Make this compromise workspace the subject of a second timed writing. Claim your territory You may have to share this space with others. How protective do you feel about the area or areas you use? X How do you mark your boundaries so that others do not encroach on them? X Are you clear about your needs for space and privacy? X How assertive are you in defending these needs? Having to worry that papers might be moved, read, damaged — even accidentally thrown away, is a most unwelcome distraction.

If you have your own work room, are you making full use of the freedom this allows you? Has it occurred to you that you can do anything you like in there? For example, writing on the walls and ceiling can be very liberating — perhaps chunking ideas as in Figure 1. The result feels amazing — like sitting inside your own brain.

Character Worksheets

X Take a few moments to think about ways of using your space more creatively. X Write a list of the things you will do to bring this about. X Take action. Go walkabout Having organised your workspace and settled in, make sure it does not eventually become a new rut. If you really want to trigger your imagination, try some of the places you chose in childhood — behind the sofa, in a wardrobe, in the cupboard under the stairs.

Does this sound like a daft idea? Would it help to know that at least two well-known and respected authors write underneath their dining room tables? She says that being playful in this way really boosts her creativity. They want to become rich, powerful, famous.

But — they lose all qualities that can make their life joyous; they lose all cheerfulness, they become serious. Does isolation make you long for company and vice versa? Do you rent a cottage by the sea, and end up writing in a cafe in the centre of town? It is very likely that this yearning for something we cannot have is a necessary part of the creative process.

Once, when writing a certain story, I felt compelled to stay in a seaside boarding house up north, in winter. The arrangements I had to make in order to do so were considerable. I stuck it for just one day. Now I use my imagination to go where I yearn to go. This is quicker, cheaper and far less disappointing. Organise your work time Does your time feel as though it is structured for you, or do you set your own schedule?

We have also looked at scheduling a writing day around regular breaks. Is this something you need to change? As with your workspace, your work time needs to be claimed and marked out in some way. If you live alone, make your writing hours known to friends, neighbours or anyone else who might call round. Let the answering machine take all your calls. How can you reduce these? Research Does your schedule allow plenty of time for any research you need to do? How do you feel about research?

It need not mean hours spent in the library. Active research, immersing yourself in the place where your story is to be set, is likely to be more enjoyable and will help you to bring the setting to life for your readers. Similarly Peter Vincent spent many hours as a leisure centre user while doing initial research for The Brittas Empire, and Canadian writer Jo Davis thoroughly indulged her passion for trains while working on Not a Sentimental Journey.

This radar also seems to work subliminally. I have several times invented a name for a character and had someone of that name enter my life shortly afterwards. Reading Make sure your schedule also includes plenty of time for reading — particularly the type of material you like to write. What appeals to you? What is selling? Who is publishing it? A particular joy of being a writer is that you can feel positively virtuous about being an obsessive reader. Checklist X What do you need in terms of time and space for writing?

X How can you best get these needs met? X How will you make this clear to those around you? X What role might your imagination play? X Have you allowed plenty of time for reading and other research? He had always wanted to write a crime novel, and decided to make positive use of his time at home to do so. He organised his writing day with as much care and precision as he used in running his office.

He realised the importance of reading novels in his chosen genre, and set aside a regular time slot for this. He also allowed plenty of time for research. He was not too sure about things like Pilates and writing in cupboards, but could see the value of a good health programme.

Having set himself up with such meticulous care, he was surprised and quite discouraged at the difficulty he found in getting started. He says that timed writing — about which he was extrememly sceptical at first — has been a huge help in this respect. It is a way of making our voice heard in the world. So how might the other half of that dialogue be conducted? Joining a group or a class is one very good way. Reading the papers, watching the news, and conversing with a variety of people can also be helpful.

List the things you simply could not do without. Perhaps your brain is more like a backpack than an orderly bookshelf. If you are not happy with the contents of your workspace or your backpack list those things again in order of priority and see whether you can discard some.

Or do you need to acquire more? If the latter, read on. Otherwise skip the next two sections — you might be tempted. Highly useful items X Thesaurus. X Dictionaries of proverbs and quotations. X Rhyming dictionary. X Current encyclopaedia for checking dates and information. X Books of names. X Hand-held cassette recorder for dictating as an alternative means of recording your words.

Try timed dictation as an alternative to timed writing. X A large clock and a timer with an audible signal. X Kettle, cup, tea, etc. Treats These are important. Here are a few suggestions. X Aromatherapy oils in a burner or applied suitably diluted to the skin. Try: pine for inspiration, sage for opening to the subconscious, lavender, camomile and rose to relax, grapefruit to wake up, geranium to stimulate dreams. Or a long soak in the bath might be more your style. X How about a large comfy chair to snuggle into for handdrafting or reading, with your favourite music close at hand?

Perhaps you write as a person of the opposite gender. If you write in a variety of genres, you may have several writing selves. Make them the subject of timed writing or a complete play or short story. Perhaps one of the functions of pen-names is to allow the writing self or selves and the everyday self to lead separate lives.

Value yourself and your writing How do you feel about writing as an occupation or pastime? When you talk about it, do you feel proud — or embarrassed? How do you feel about the writing you produce? How do you cope with rejection letters? It may be a while before you can give positive answers to these questions and really mean it — but, with perseverance it happens. A supportive attitude from those close to you is also invaluable. Whether we are observing people, objects, locations or situations, an important part of the process is paying close attention to what is happening within ourselves as we do so.

Our inner experience of the world is what we communicate to others in our writing, so it is extremely important to be aware of ourselves and our feelings in relation to any aspect of the environment we wish to explore. Settle yourself somewhere comfortable where you will not be disturbed, before you play back the recording. Let your breathing settle. Take your awareness inwards. What is your life like at this moment? As you consider this question, allow an image to emerge. Take your time. Let the image develop and reveal itself.

How do you feel about it? Sit with it a while and get to know it even better. Give it a name. Would you like to change the image in any way? If so, make those changes. How do you feel about the image now? Which hand is doing the exploring? How does it feel in that exploring role? Transfer your attention now to the hand that is being explored. How does that feel? Focus on those feelings about being explored. Change the roles over. How does each hand feel now? If your right hand had a voice, what would it sound like? What would it say? Give your left hand a voice.

What sort of voice is it? What does it say? Let your hands talk to each other for a while. Open your eyes. Record your experiences. Did it feel strange to focus on yourself in that way? He felt quite foolish about exploring his feelings and the first time he tried to write about himself with his left hand, he threw down the pen in frustration.

Other students have found the experience liberating. Sheila said she wished she had known earlier about this way of working. Whatever your reaction to these tuning-in exercises, do persevere. Focusing on the self is an important habit for a writer to develop. See what links you notice in this respect after completing the next exercise. Tune in to your self-image Do this quickly, with as little thought as possible. Beside each number write one word which describes you.

Put this list aside and forget it by doing something else for ten minutes. With your other hand write ten words which describe you. Compare the two lists. What did you discover in comparing lists? Were some words positive and some negative? Did you contradict yourself, even in the same list? Ask questions about any aspects of your life that have been puzzling or annoying you. Let one hand ask and the other one answer. It can bring up feelings of vulnerability and frustration, making us impatient with ourselves. Such reactions are often due to unhelpful messages we received about ourselves in childhood — messages which have stuck and which cause us to criticise ourselves today.

Whose voices are they? CASE STUDY When David finally got in touch with his internal critic, he began to understand where his earlier feelings of frustration came from, and he decided to persevere with the exercises — for a while, at least. It is therefore a good way to bypass our internal critic. In doing this we free ourselves to rediscover the spontaneous creativity of childhood, and surprise ourselves with the results. Word association activities also enable us to bypass the critic, provided we allow ourselves to let go and write whatever comes into our heads.

The two word-association exercises which follow are useful tools at any stage in the writing process. In this case we will be using them as another way of tuning in to ourselves. Circle it. From each of these six words, quickly write a succession of associated words, continuing each spoke to the edge of the page. Now let your eye roam around the page. Soon words will begin to group themselves into unexpected phrases.

Such phrases are unlikely to result from logical thinking processes. Example of a word web. X Divide the paper horizontally into 12 sections and number them 1— In each of the second column boxes, write a random noun. In each of the third column boxes write a random verb — any tense. Write it in number form e. The month is number 12, so the noun you have generated is directions. Such word association exercises provide us with that wonderful idea-trigger unexpected juxtaposition which can take our writing along some very surprising routes.

CASE STUDY Karen particularly liked grids and webs and would use them to generate several sentences at a time, which she would then use as the starting point for a poem. This time only nouns are used. Word webs move outwards from a central idea. Word grids create an idea from a series of stimuli. The next technique takes the process full circle by moving inwards from a number of ideas towards a central focus. Leave it empty. Choose sixteen words from the lists you made in the exercise on page Write eight along the top edge and the others along the bottom.

See Figure 3. Find a word to connect words 3 and 4, 5 and 6, 7 and 8. A word honeycomb. Find a connecting word for the two words in the new line, and write it above the space you have marked out. Repeat this process, working upwards from the bottom of the page. Write them on either side of the marked space, as shown. Find a word or a person which connects all four central words, as shown. This could lead to Buttons as the assistant hero in that story.

Am I a good friend? How am I not like Buttons at all? If the characters in our stories are two dimensional or unconvincing, it could be because we are out of touch with these processes. The exercises in this book will help you to develop the awareness needed to engage with them. Such awareness is a vital tool for writers who are really serious about their work. You will need to make brief notes. X Note three things you know about them straight observation. X Note three things you imagine about them. I often use it as one of the opening exercises when beginning work with a new group.

She then felt that her suspicions about putting it off in case she was unable to do it well enough were confirmed. Using these techniques over a number of weeks helped her to rediscover playfulness and a sheer joy in writing that she had not felt for some time. Checklist X What have you learned about yourself through doing these exercises?

X How will you use this in your writing? X What have you learned about your internal critic? X How will you use: word association, writing with the nondominant hand? How do I feel about them? Who do they remind me of? Next, choose one word to describe this character. Make it the centre of a web. Or use both hands to make two eightword lists, then build a honeycomb. How do they sound? What gestures do they use?

What is their accent like? X X Imagine they are sitting opposite you, and talk to them. Write a dialogue between this character and a character which represents some aspect of yourself — your left-hand self maybe, or your internal critic. Is the speech of each character quite distinct, or is it sometimes unclear which one of you is speaking?

How can you improve on this? If they found themselves on a desert island, naked at a concert, having tea with the Queen, they would. You now have facts about your character. These are probably the ones which will make the character live — the unexpected or secret things which makes him or her unique. You will not use all these facts when you write about the character — but you will know them. This will make the character feel more and more alive to you. This often represents the self they show the world and the more hidden self.

Ask a friend or partner to cover each half of their face in turn. Describe what you see each time. Compare the two descriptions. Were you surprised? Repeat the exercise with any full-face photograph. Repeat the exercise with a full-face photograph of somebody who resembles your character. This is another way to make your characters multi-dimensional. Guided visualisation Record these instructions and listen to them in a relaxed state with closed eyes.

Bring your character into your awareness. Visualise them in every detail. Notice their size, their shape, the way they stand or sit. About how old are they? What sort of mood are they in?

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What does this person smell like? Is it the smell of their house or workplace? Is it clean and tidy, or in a muddle? Do they have any pets? What can you hear as you move around this house? Take on their mood. Look down at the clothes you are wearing. How do they feel against your skin?

Who chose these clothes? Are you happy in them? How are you standing? How does it feel to walk around. What can you see out of the windows? Are there any neighbours? How do you get on with the people living nearby? Who visits the house? Who do you visit? What did you have for breakfast today? How did you eat it? What is your attitude to food in general?

How do you spend your time? How do you enjoy yourself — and when? Add any other questions you need to ask. Do you have a name for your character? If not, tune in again and ask them. Also ask how they feel about that name and who chose it. How do you feel about the character now?

They should always be treated with great respect. From these, either select one which reminds you of your character, or place the cards face downwards before choosing, thus inviting fate to take a hand. If you chose the card consciously, note your reasons for doing so.

Then write down everything both observed and imagined about the character on the card. Use some of the techniques you have learned in this chapter to help you. Note any surprises. Look at the card for a while. If you chose the card at random, consider it as an aspect of the character of which you were unaware. Work with it as above. Alternatively, choose from the whole pack, with the chance of considering your character as an animal, object or place — as in the timed writing above. Or choose a card to represent a new character entirely. Use unexpected juxtaposition Word webs jolt us out of our language rut by placing words in unusual groupings.

X Gandalf organise the teas at a church garden fete? What can you learn about them from their reactions? Lara Croft visits Pride and Prejudice. X X Draw a tarot card at random and get your character to interact with the person, place or situation depicted. Pay particular attention to the dialogue. Choose a date at random and get your character to interact with each of the objects or qualities generated by that date your nouns only word grid.

Techniques for tuning into ourselves and into a character can also be used for tuning into an object. Also, ask who found it or made it, when and where. Use alternate hands to dialogue with the landscape. When you have a name for the place, use this as the centre of a web. Tarot cards are also very useful, whether you work directly with a setting or choose another type of card to use as a metaphor. Guided visualisation Record, as before.

Listen in a relaxed state with closed eyes. Find yourself in the location of your story. Really feel you are there. What time of day is it? Are there people around? What is the weather like? What time of year is it? What historical period? Start to explore. Feel the air against your skin.

What can you hear? Can you taste anything? What is the atmosphere of this place? Do you feel comfortable here? What is the pace like — lively? Is it in tune with your mood? What is the name of this place? Find a door or a road or pathway that you have not noticed before. Where does it lead you? Work with them as you did with characters and settings. Use webs, honeycombs, and timed writing. Consult the manuals for further insight. Many newspaper photographs also capture the essence of the moment and are a very good resource for tuning in, using the techniques described.

Survey the territory, then suddenly focus on one feature. Imagine the soundtrack playing a couple of loud chords. Work with a picture Use a magnifying glass and a printed picture with a reasonable amount of detail e. Let your eye roam over the picture, then suddenly magnify — a car — an open window — a clock on a steeple — a group of people.

Each time, imagine an appropriately attention grabbing soundtrack. What could it mean? However, they cannot be rushed and for students like Karen, who can only find short periods of time in which to write, this can be a problem. Karen found she could use her snatched moments in the car for timed writing and word webs, but not for tuning in or any kind of guided visualisation. She let friends and family know that she would not be available at that time.

Karen feels it also has a positive side in bringing discipline and focus to her work. Something happens to disturb the status quo. Character response and evolution — the character may be strengthened in their resolve, or they may change. Sometimes the reverse happens — a character or a place grabs our attention then gradually begins to tell us their story. Whatever our starting point — plot or character, the narrative process should gradually unfold as a complex interaction between the two. Plot cannot work where its demands go against the nature of the characters.

Once we are aware of these processes we can make them work for us, so that we can follow a plot as it develops, rather than struggle to think what should happen next. The following guided visualisations help to enhance character—plot interaction. They can be used to develop a new plot, or to work on a current one. X If you wish to work on a current project, let one of the main characters come into your mind.

Take some time to reacquaint yourself fully with this character before proceeding to the exercise. X Have your writing materials near to hand or X Respond aloud to the questions. Record the whole journey, including your responses, on a second recording device. What mood is their face and their posture expressing? Ask them what has happened to them today. Where have they been? Who have they met? Was it an unusual, or an average day? How has it left them feeling? Become this person now. Step into their skin, their clothing. Begin to move as they move, and speak as they speak.

What can you hear, feel, smell, taste? Notice the qualities of the light, the temperature and humidity. How does it feel to be in that place? Gradually let your mind move backwards over your life, so that the events leading up to what happened here, today in this place become clear to you. Notice your feelings as you do this. How do you see today in terms of your life as a whole? What do you think might happen next? How are you feeling now? When you are ready, open your eyes. Make these experiences the subject of a ten-minute timed writing. Your character is not here.

Spend some time exploring on your own. Someone is approaching. You can see them nearby. They want to make contact. This person likes to gossip. They are eager to tell you their version of the events which your character described earlier. Listen to what they have to say. Ask any questions you want to ask, but do not argue.

When you are ready, draw this conversation to a close, take your leave of the gossiping person, and open your eyes. Record your feelings as you write. When you are ready, close your eyes and return to that place. Guided visualisation 3 Almost immediately a person approaches. They are anxious to talk with you. They can be trusted. They have news of what is happening to your character now. Listen carefully. Ask whether your character needs your help in any way.

The trusted friend wants to put the record straight about what the gossip told you. Discuss this for a while. Make sure you now have the correct information. When you are ready, draw this conversation to a close, thank the trusted friend, take your leave of them and open your eyes.

Writing Workbooks — Well-Storied.

Write a dialogue between the gossip and the trusted friend. Try writing with both hands. Outline the plot Write a brief resume of the story so far. What overall theme is developing? Choose three words to describe the key theme s of your story. This is particularly important when writing a short story. Am I reinforcing this theme, or am I losing the impact by getting side-tracked?

X Let other characters tell you their version. X Identify the key theme s. X Keep returning to the key themes and checking them out. X X Pick two or three words at random and take them as the basic themes for your story. Make it the beginning of a piece of timed writing. You could also make a plot grid, similar to the ideas grids we looked at in the previous chapter. Draw ten horizontal lines and number them 0—9.

Proceed as follows: X X X X Choose — or ask a friend to choose — ten single-word identity descriptions e. Choose ten locations — some large, some small scale e. Choose ten objects, events or persons which are likely provoke action or reaction of some sort — e. This could be a pinnumber, the year of your birth or any other historical event, or any combination you choose. Use this number as you used the dates in the previous chapter, to provide you with a skeleton plot. For example, the year would give you a sales rep in an hotel with an illness and motivated by greed.

Without this externalised third party, our writing can become a private conversation with our characters. Our reader may feel like a late arrival at a party, bewildered and excluded. Increasing introspection can also cause us to lose sight of our ideas — as if they have disappeared into a black hole. X Take a few minutes to write about a recent event in your life. Will it be someone you know, or someone you invent? What do you need from them? Use a guided journey, left-hand writing, webs, 10x10, etc. If your priority at this stage is to tell your story clearly, invent or remember your listener as one of those irritating people who asks a question after every few sentences.

Nothing got past him it seemed. Imagining his boss as his audience helped him to achieve similar standards in his writing. X Tarot cards, family photographs, china ducks, your pets — anything, can be your audience. X Switch roles and be the audience. Have your say from this seat too. She thought that other people might not understand it. While discussing this with the writing group, she remembered that when she wrote as a teenager — even in her diary — she imagined she was talking to someone of her own age. She had recently bought the Arthurian Tarot, and felt particularly drawn to the Grail Maiden.

She found it easy to imagine her as a receptive audience, and this helped her to direct her work outwards again. If we dream we are having tea with a cat in a pink swimsuit, we are the cat, the swimsuit, the tea itself, the place where the tea is served and so on. Communicating with or through all aspects of our visualisations, gives us insight and also many new viewpoints to work with. Either record your responses to the following exercise, or make them the subject of timed writing.

Notice the things around you. Talk with them. Speak as each of the objects in turn now. Tell the story from each of these points of view. Speak as the place. Talk about all the things you have observed. Scrabble 1. Play a minute game, either by yourself or with a friend. At the end of that time, write a story using every word you have made.

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Or instead of recording the scores, record each word. Use them in the order in which they appeared. Alternatively, use only the nouns or only the verbs which appeared. Make each the focus of a stage in your plot. Suppose the verbs you made were: plan pack doubt arrange saw spend A sample plot outline could read: X Emily plans to surprise her husband Tim with a party on their anniversary. X She tells him to keep that day free.

X He starts to spend a lot of time away from home and seems preoccupied. X A friend tells Emily that she saw Tim coming out of a hotel with his secretary. X Devastated, Emily cancels the party and packs her case to leave. X Tim has been planning to celebrate their anniversary with a second honeymoon. His secretary has been helping him to arrange it. Boggle, Lexicon, Jitters and other word games — such as Target Words, found in various newspapers and magazines — can be used in the same way.

Snakes and Ladders Throw the dice and move a counter accordingly.


Close your eyes and point to a word. Use it in your opening sentence. Continue in this way for each sentence. If you go down a snake, introduce an obstacle or misfortune. The story ends after a set number of throws, or when you reach the last square. Any dice and counter board game can be adapted in this way.

Or you can invent your own board game to suit your plot production needs. Dice 1. Use a pair of dice and a dictionary. Or choose a word at random and throw the dice count forward that number of words and use the word you land on. Use the words as in the games described above. Use a single die and tarot cards. Throw the die. Throw and choose six times.

Each card reveals the next stage of the plot. Dice are traditionally used for divination and insight. The meanings attributed to their scores can also be used in storymaking see next section. Checklist Use games of chance: X X X X to write a whole story to give your plot an unexpected twist to reveal new aspects of your characters when you are stuck.

Leaving the plot to chance seemed strange at first, but now he is hooked and regularly uses games of chance alongside more conventional approaches.

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Karen found these methods excellent for writing poetry. She would usually set herself a task, such as writing down the words in order and using each one to begin or end a line, or using them anywhere in the poem as long as they appeared in order. She would then see where this took her and use her artistic judgement to deviate from her self-imposed rules if she felt this would improve the work.

They are used for divination, personal insight and guidance and — as I have already said — must be treated with care and respect. Approached in this way, they can also give insight into our characters and their stories. We can use these spreads to ask questions about our own lives and about the lives of our characters.

The answers can also be read as an unfolding story. A recent Flying Bird spread read: 1. Here and Now: Turning inwards 2. Response to the fear: Stress 4. Inner support: Healing 5. External support: Innocence 6. New awareness: Inner voice It gave rise to this story outline: A woman in her forties has always wanted to dance 1 but is afraid of making a fool of herself 2.

A little girl 5 watching at the door tells her she longs to be in there dancing. The woman remembers feeling like that when she was young, and this gives here the courage she needs 4. Dancing at last, she feels positively euphoric 6. Response-ability to the fear. External support intelligent action. Arrival at a new level of awareness. Inner support of responsibility intuition.

Relaxation and acceptance. Flying Bird tarot spread. The answers are rich in metaphor. Call a glass of water a pond if you like, but do not drown in it or from Hexagram 64 WEI CHI: A decisive new move but not if you behave like the centipede who, looking at his moving feet and analysing their order of movement, ends up on his back waving his thousand legs in the air.

The most useful answers result from sincere and well-formed questions. The answer to such questions, can reveal new aspects of a character, or change the plot dramatically. Runes Norse in origin, each rune-stone bears an ancient alphabetical symbol. Bought sets include an accompanying booklet which gives the meaning of these. There are also many books on the subject available separately. Stones can be used singly or in spreads. As with the I Ching, answers can be interpreted in many ways. Dice Dice, traditionally three, can also be used as tools of divination and inner wisdom.

There are many systems, some very complicated. For use in creating plots it is enough to know the basic meaning traditionally attributed to each score. A stranger brings joy. Loss — may bring spiritual gain. Gossip causes unhappiness. Ill-considered action may cause injustice. Success, forgiveness, reunion. Domestic contentment. Someone is ill. A letter demands an answer. Long-term sorrow. A stranger becomes a close friend. Temptation to make unjust deal. Foreigner gives good advice. Dominoes To help carry your plot forward, draw up to three dominoes tradition says that more makes the dominoes tired!

A good move. Avoid speculation.

The Creative Writing Workbook Create and Develop the Writer Within The Creative Writing Workbook Create and Develop the Writer Within
The Creative Writing Workbook Create and Develop the Writer Within The Creative Writing Workbook Create and Develop the Writer Within
The Creative Writing Workbook Create and Develop the Writer Within The Creative Writing Workbook Create and Develop the Writer Within
The Creative Writing Workbook Create and Develop the Writer Within The Creative Writing Workbook Create and Develop the Writer Within
The Creative Writing Workbook Create and Develop the Writer Within The Creative Writing Workbook Create and Develop the Writer Within

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