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This workshop is for debating the idea of whether an exciting story is better or worse than a stylistically strong story – or whether they are equally important?
Rose Foster meets Ronnie Lyndon when she begins a master's degree in Cambridge. A relationship blossoms. Rose is still reeling from the death of a beloved aunt. Is life now on the up? Just when she thinks it might be, Rose is plunged into a terrifying situation.
(3) Point of View
Is this the biggest bugbear of the lot? Are you irritated, like me, by readers who raise an eyebrow at any change of viewpoint? By those who say, “I was just getting interested in Kate when Hugh poked his nose in”? Or worse: “The whole thing should be told from Harry’s viewpoint”? Perhaps you feel like retorting, as Ian McEwan did to Philip Roth in another context, “But that’s the novel you would write; it’s not the novel I want to write.”