A Writer's Guide to Fiction (Writer's Compass) by Elizabeth Lyon

By Elizabeth Lyon

The second one ebook within the Writer's Compass sequence from specialist writing teacher Elizabeth Lyon deals either aspiring and proven authors the basics of writing and promoting an excellent novel or brief tale. as well as the fundamentals of characterization, plot, pacing, and topic, A Writer's consultant to Fiction additionally includes a plan for revising fiction, a advisor to advertising, samples of canopy and question letters, and strategies of honing the writing craft.

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The implications of the positing of such basic guarantees of difference are widespread. Would a reliance upon the actors’ bodies to inscribe difference be limited to a consideration of sexual difference or would differences of race and age be similarly reliant upon the choice of appropriate actor? Such suggestions are clearly an overliteral interpretation of Cixous’s premise and, indeed productions of her plays by the Théâtre du Soleil have often cast women in male roles and relied heavily upon make-up, mask and costume to construct characterisations which necessarily obliterate, to some extent, the physical specificity of the individual actor.

20 Theatre’s conventional suspension of the audience in intradiegetic time and space, and the immediate response of the audience to the performance, and so to the text, is presented by Cixous as having an anticipatory impact on the writing process and thus providing a model for an ideal ‘writing in the present’: 19 20 56 Hélène Cixous, ‘Interview’ Théâtre/Public 68 (1986), pp. 22-25, p. 25. Hélène Cixous, unpublished seminar archive 4/3/1989. The ability to exist in the absolute present is the charm and the necessity of the theatre.

This critique leads to an expressed desire that the radical potential of theatre (or more specifically its role in providing liberating representations of the female subject) be reclaimed. Cixous’s two plays of this period, Portrait of Dora and The Name of Oedipus… combine radical interventions in their respective source narratives with ambitious formal innovation to produce plays which share the preoccupations of the very different dramatic œuvres of Marguerite Duras and Nathalie Sarraute and their reframings of female subjectivity.

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