cultural viewpoints, opposing, 99
culturally specific text,
exercise, 50
Curious Incident of the Dog in the
Night-time, The (novel), 121–2
cutting text, 279
cut-up method, collage, 72–4
cyberwriting, 240, 248–9
dance, performance work, 223
death, mirror images, 21–2
Death of a Salesman (play), 114,
115
decontextualised dialogue, 124–5
defamiliarisation, 38, 180
‘Defence of Poetry, A’
(poem–essay), 180–1
‘democratic’ narration, 86
destabilised subject position, 92–4
detail, inclusion of, 33–4
dialogue
authorial comment, 111
chatting and chat shows, 123–4
collaborative, 125–8
conception methods, 111,
112–13
decontextualised, 124–5
exercises, 111–12, 119–20
function, 112–13
improvisation, 117–18
non-communicating, 120–2
non-realist, 114–17
power relationships, 117–20
progressive, 120
realist, 113–14
thought processes, 116
unconventional, 121–2
written backwards, 116–17
written forms, 110–11
dialoguing
across genres, 124–5
breakdown of, 110
interactive process, 127–8
social forms, 123–4
diary entries in fiction, 60
diary form, semi-fictionalised,
199–200
diary slips as poetry, 75–7
diasporic city, 260–1, 263
disabled people, dissident lyric,
165–6
discontinuity
bodies and cities, 266–7
fictocriticism, 207–9
postmodern poetry, 178–9
prose, 196–200
discontinuous prose, 270
discourse-related approach, 86
dissident lyric, 165
dissociation
word building, 8
word list, 7
door
imagery use, 269
metaphor development, 41–4
word as hook, 39–40
284 The Writing Experiment
Dreamlife of Letters, The
(hypermedia), 244–5,
249–50
editing process, 277–80
‘Elevator, The’ (postmodern
story), 139
Elevator Dreams (poem),
216–17
‘Empty Lunch-Tin, The’, 105–6
England, ‘linguistically
innovative poetries’, 168
essays, fictocritical, 205–6
ethnicity, performance work, 231
exaggeration, 37
expectations of plotlines, 137–9
experimental movements
concrete poetry, 182
poetry, 167–9
Text-Sound, 218
experimental strategies, ix–x
extension technique, new worlds,
153
external action, interior thought,
98
fairytales, rewriting, 77–82
far-past, 104–7
fibonacci series, 58
fictocriticism
exercises, 193, 209–10
explained, 204–10
first person
focalisation, 96
multiple focalisations, 101
narrator, 88–91
flashbacks, 104, 199, 268
flashforwards, 104, 268
‘flat’ characters, 141–3
focalisation
child’s viewpoint, 100–101
components, 97
constructing, 96–8
cultural identification, 143–4
differences, 98, 100
exercise, 85
explained, 95–6
multiple viewpoints, 98–103
new world, 153
third person narration, 96
foreshadowing, narrative, 85,
94–5
found text, 74–7
frames, screen, 246–7
free-verse tradition, 169
Freytag Pyramid, 136
friction
as fantasy, 147–53
histories, 144–7
as writing strategy, 133–4
see also postmodern fictions
games, linguistic play, 173
gender, subverting, 231
gendered city, 261–62
generic experimentation, 204–5
Genre (novel), 270–71genres
cross-dressing, 200–204
different modes within, 27
explained, 27
hypertext fiction, 239–40
postmodernist fiction, 135
transgressing norms, 192–3
writing exercises, 193, 200
see also mixed genres;
narratives
geography, postmodern, 255–7
globalisation, effect of, 267–71
God of Small Things, The
(extract), 256
grammar
exercises, 178
functions, 175–6
poetry, 45–6, 175–8
subversion of, 176–8
Heart is a Lonely Hunter, The
(novel), 21–2
heterodiegetic narrator, 87–9
historical events
postmodernism, 134
rewriting, 144–7
time–space compression,
103–7, 269–70
‘historiographic metafiction’,
144–5
History of the World in 10 1/2
Chapters, A (novel), 145
‘Holes and Stars’ (poem), 162–3
homodiegetic narrator, 87, 89–91
homonyms, 173–4, 175
hook phrases, 52
Human Document, A (novel),
66
human voice
improvisation strategies, 225–6
sonic poems, 219–22
spoken word, 215–18
taped voice comments, 111
Humument: A Treated Victorian
Novel, A (novel), 66
hyperlinks, 239
hypermedia
exercises, 238
technique, 240–51
hypertext
creating, 243–4
exercises, 238
explained, 239–40
interactive, 242–3
‘I am Marion Delgado’ (poem),
176–7
‘I Am Told’ (poem), 160–1
ideas
fictocriticism, 205
lack of, xi–xii
recurring, 270
word association, 5–11
identities, morphing, 231
imagery, contemporary, 166–7
impartiality, narrator, 88