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The Muse Marquee - Issue Two
Worlds Apart – EDITOR – Charles Mossop
Setting Your Stories in other Cultural Contexts
Why Bother? The Case for World-Building
principal reason for setting stories in times past is their enduring popularity. Many,
if not most, readers love history. People enjoy having their imaginations stimulated
by thinking of what life was like in bygone eras. Not everyone is fascinated
by formal history as taught in schools or college, but fiction offers an experience of history at a personal level, dealing
with people in their daily lives and conflicts. It’s not difficult to find
a textbook which provides a sophisticated analysis of the Napoleonic Wars, for example, but how much more fascinating it is
to read about them and re-live them through the experiences of British soldier Richard Sharpe as described in the brilliant
historical novels of Bernard Cornwell.
Check his books out at http://www.bernardcornwell.net, and note how many other sites there are devoted to Sharpe and his imaginative creator.
MOTHER HEN’S BIN – EDITOR – LEA
Every writer at some point sweats the next step once a manuscript is almost at completion or fully completed with edits
to boot. And this step is writing The Query Letter to an agent. And duly noted that this will be, besides your manuscript,
the most important introduction of you and your craft to an editor or agent. It will be the deciding factor on whether or
not they will request to see your completed manuscript.
MUSINGS – EDITOR – SUSAN STEPHENSON
C-Crack-‘em Up – Injecting Humor into Text
Possessing a sense of humor is a wonderful gift. Finding situations and material to stimulate
a child’s sense of humor is a skill coveted by most writers. Is there any way we, as writers, can sharpen our own funny
bones? Can we learn to be funnier, make our writing more entertaining? Is it just a matter of making simpler, some things
we adults find funny?
UP FROM DOWN UNDER – EDITOR – LES STEPHENSON
A 'speech tag' is more correctly known as an 'attribution'.* An 'attributive phrase' does just what it
says - it attributes direct speech to a specific speaker (or, in rarer cases, speakers).
The attribution can be used to modify the pitch, power or pace of the speech. Consider:
"I can't do it," she whispered.
"I can't do it," she whimpered.
"I can't do it," she said.
"I can't do it," she concluded.
"I can't do it!" she insisted.
"I can't do it!" she yelled.
"Can I do it?" she asked.
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