Making readers care and feel like they’re part of the story should be the number one goal of all writers. Ironically, many storytellers fail to maximize one of fiction’s most powerful elements to achieve this: the setting. Rather than being a simple backdrop against which events unfold, every location has the potential to become a conduit for conveying emotion, characterizing the cast, providing opportunities for deep point of view, and revealing significant backstory. Inside this volume, you will find: • A list of the sights, smells, tastes, textures, and sounds for over 120 urban settings • Possible sources of conflict for each location to help you brainstorm ways to naturally complicate matters for your characters • Advice on how to make every piece of description count so you can maintain the right pace and keep readers engaged • Tips on utilizing the five senses to encourage readers to more fully experience each moment by triggering their own emotional memories • Information on how to use the setting to characterize a story’s cast through personalization and emotional values while using emotional triggers to steer their decisions • A review of specific challenges that arise when choosing an urban location, along with common descriptive pitfalls that should be avoided The Urban Setting Thesaurus helps you tailor each setting to your characters while creating a realistic, textured world your readers will long to return to, even after the book closes.
A fourth type of phasal analysis is offered by Timberlake (1985). Timberlake assumes an interval temporal semantics like Woisetschlaeger, and focuses on ...
In some languages, this elemental opposition surfaces directly, asin the Austronesian (Chamorro: Chung and Timberlake 1985; Bikol: Givón 1984) and certain ...
Justin Timberlake and Janet Jackson were performing during the halftime show when a “wardrobe malfunction” exposed for a fraction of a second the singer's ...
Justin Timberlake and Janet Jackson were performing during the halftime show when a “wardrobe malfunction” exposed for a fraction of a second the singer's ...
... 70, 85,171,231 Thomson, Greg, xix Thomson, R. W, 231, 233 Timberlake, Alan, ... J. M., 225, 235 van Putte, E., 286, 294 Vermant, S., 61,62 Vincent, N., ...
... 'timbol, –Z timber BR 'timble(r), -oz, -(e)rin, -od AM 'timblor, -orz, -(e)rin, ... -s Timberlake BR 'timboleik AM 'timbor,eik timberland BR 'timbaland, ...
... 237 St. George , R. , 38 Stilling , E. , 251 Stonequist , E. , 247 Stopka ... R. , 149 Tidwell , R. , 227 , 230 Timberlake , M. F. , 266 Ting - Toomey ...
... line on Deck D. A baby squeals in the background cacophony ofthe airport. ... spirit in terms of matter, matter in terms ofspirit,” Robert Frost said.
... 30, 31, 32, 34 Durand, D., 49 Dwyer, J. W., 78 E Egan, J., 93 Eisenberg, ... 102 Floyd, K., 85, 89, 91 Forsyth, C. J., 41, 42, 48, 5.1 Frost-Knappman, ...
Journal of Psycholinguistic Research, 4, 331–342. Freedman, D. (2007). Scribble. New York: Knopf Books for Young Readers. Frost, J. (2001).