narratology, 85–7
narrator
absent, 95
heterodiegetic, 87–9
homodiegetic, 87, 89–91
hypertext fiction, 239–40
identity withheld, 91
intrusive, 88–9
knowing, 94–5
multiple, 99
new world, 153
subversion of voice, 162–5
use of narratee, 91–2
using various types, 85
nature poems, 178
near-past, 104–7
Neither the One nor the Other
(collaboration example),
16–17
Neuromancer (novel), 149
new media writing
creation exercises, 238
cyberwriting, 240, 248–9
hyperlinks, 239
hypermedia, 249–51
screen creation, 246–7
technologies, 237–8
on websites, 238
see also animated texts;
hypertext
new worlds
creating, 147–53
techniques, 153
triggers, 153
writing exercises, 255
Noah’s flood, rewritten, 145
non-human characters, 143
non-literary forms, 59–62
note form, fragmented, 199
nouns, 33
‘Novel in Ten Lines’ (synoptic
novel), 194–5
novels, dialogue, 111
numerical structures, 57–9
object referents, 19
Oedipal complex, contemporary,
97–8
‘Of Time and the Line’ (poem),
173–4
‘official verse culture’, 169
one-trait characters, 141–3
open narratives, 107–8
orientation see focalisation
Oulipo (Ouvroir de Littérature
Potentielle), 59, 174–5
palindromes, 175
Pandering to the Masses: A
Misrepresentation (play), 111
paraliterature see fictocriticism
parallelism, body and city, 266–7
passport details, 61–2
past see historical events
past tense, use of, 90
Paterson (collage), 68
286 The Writing Experiment
‘Pause’ (poem), 51–2
performance
delivery of poems, 216–17
exercises, 213
intermedia work, 222
morphing identities, 231
poems, 214–15, 217–18
scores, 227–30
spoken word, 215–18
subverting gender, 231
A Vocabulary Gatha for Peter
Rose (score), 228–30
writing for, 212–14
permutation see phrase
permutation
person-in-action construction
animation, 29–34
exercise, 28
satirical, 36–7
surrealistic, 35
phrase manipulation
examples, 11–17
exercises, 4
using, 11–17
‘phrase manipulation’ (example),
14
phrase permutation
examples, 12, 14–15, 183, 188–9
sonic poetry, 219
technique, 11–12
place
explicit sense, 256–7
implicit sense, 257
new worlds, 152–3
postmodern geography, 255–7
questioning sense of, 258–9
writing about, 254–5
writing exercises, 255
see also time–space
compression
plays, dialogue, 111
plots
broadening concept, 137
hypertext fiction, 239
influence, 136
over-determined, 138
postmodern fictions, 135–9
subverted, 136–9
traditional structure, 136
see also storylines
‘P.M.T.’ (poem), 167
‘Poem: i.m. John Forbes’
(poem), 158–9
‘Poem: “In the stump of the old
tree.. .” ’ (poem), 53–4
‘Poem Found in a Dime Store
Diary’ (found poem), 75–6
poems
concrete, 40, 182
performance delivery, 216–17
single sentence, 37
sound, 218
visual, 182–3
walk, 263–6
see also poetry
poetic acrobatics, 167–70poetry
experimental, anthologies, 170,
182, 215
experimental movements, 167–9
free-verse tradition, 169
grammar, 45–6, 175–8
lineation, 38–9
location focus, 259
metaphors, 40–5
metonymical, 171–2
numerical systems, 57–9
for performance, 214–15
from prose, 37–46
repetition, 51–2
similes, 40–5
simultaneity, 55–56, 183
spacing, 39–40
split self, creating, 161
syntax, 45–6, 175–8
time–space compression, 271
typography, 39–40
variation, 52–5
word forms, 5
see also poems; sonic
poetry/writing
Poetry Slam competitions, 216
point of view see focalisation
polyloguing, 123
polysemic language, x, 5, 38, 175
postmodern fictions
characteristics, 135
characters, 135, 140
epistemological dominant, 147
exercises, 133–4
ontological dominant, 147
plot structure, 135–7
rewriting the past, 144–7
postmodern geography, 255–7
postmodern lyrics
dissident, 165–6
exercises, 157
explained, 156
split self, 157–61
subversion of voice, 162–5
postmodernism, definition, 134–5
post-structuralist theory, 134–5
power relationships
audience participation, 230–1
chat situations, 123–4
dialogue, 112–13, 117–20
dialogue exercise, 119–20
narrator, 86, 91
present, time sequence, 103–7
Prince Charming/Cinderella
rewrite, 80–2
procedural writing, 58
prolepses, 104, 268
prose
discontinuous, 207–9
fictocriticism, 206
realist, 28–34
prose poems
as a dialogue, 124–5
‘Interviews for the Freedom of
Dreams’, 15–16
the new sentence, 183–6