L'atelier d'écriture: Conseils à un futur écrivain by Bruno Tessarech

By Bruno Tessarech

Professeur, écrivain, animateur d’atelier d’écriture, en particulier celui de los angeles Fondation Bouygues Telecom, Bruno Tessarech aime autant lire qu’écrire.

Dans ce petit recueil bourré d’anecdotes et de citations, il nous livre les conseils simples, délicats, inspirés et précis pour vous accompagner le lengthy de ce voyage en enfer ou au paradis que peut être l’écriture d’un roman : le choix du Je ou du Il, los angeles persistence, les bonnes interrogations, de l’usage des carnets, du rythme de l’attaque, des personnages secondaires…

L’enfer d’un travail harassant, plein de doutes et d’angoisses, souvent pour une reconnaissance aléatoire. Le paradis de los angeles création, de l. a. liberté, de l’ouverture sur un autre monde dont vous aurez dessiné les contours.

Des rituels de Jules Renard, à los angeles trousse de dépannage d’Italo Calvino en passant par l’espièglerie brillante de Stephen King, Bruno Tessarech nous offre les crayons les plus affutés et les gommes les plus douces pour tenter cette expérience unique.

« L’enfer vous effraie ? Ne tentez pas le diable. »
« Le paradis vous clothes, avancez vers lui avec braveness ! »

En fin d’ouvrage, un code spécial permet d’accéder aux motion pictures des leçons d’écriture que Bruno Tessarech a donné dans le cadre de l. a. Fondation Bouygues Telecom.

Show description

By Bruno Tessarech

Professeur, écrivain, animateur d’atelier d’écriture, en particulier celui de los angeles Fondation Bouygues Telecom, Bruno Tessarech aime autant lire qu’écrire.

Dans ce petit recueil bourré d’anecdotes et de citations, il nous livre les conseils simples, délicats, inspirés et précis pour vous accompagner le lengthy de ce voyage en enfer ou au paradis que peut être l’écriture d’un roman : le choix du Je ou du Il, los angeles persistence, les bonnes interrogations, de l’usage des carnets, du rythme de l’attaque, des personnages secondaires…

L’enfer d’un travail harassant, plein de doutes et d’angoisses, souvent pour une reconnaissance aléatoire. Le paradis de los angeles création, de l. a. liberté, de l’ouverture sur un autre monde dont vous aurez dessiné les contours.

Des rituels de Jules Renard, à los angeles trousse de dépannage d’Italo Calvino en passant par l’espièglerie brillante de Stephen King, Bruno Tessarech nous offre les crayons les plus affutés et les gommes les plus douces pour tenter cette expérience unique.

« L’enfer vous effraie ? Ne tentez pas le diable. »
« Le paradis vous clothes, avancez vers lui avec braveness ! »

En fin d’ouvrage, un code spécial permet d’accéder aux motion pictures des leçons d’écriture que Bruno Tessarech a donné dans le cadre de l. a. Fondation Bouygues Telecom.

Show description

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Extra resources for L'atelier d'écriture: Conseils à un futur écrivain

Sample text

At least Mopey Moe does deserve credit for one thing. Rather than doing nothing, he immediately bounces ideas off Speedy Didi about which elements to include. But, to make sure that Moe doesn’t always have to come to her so that he can be more confident when writing, Didi recommends that he create templates of the most common writing situations that occur on the job. Figure 2-3 gives a list of 16 common documents composed by corporate writers, ranging from the administrative to the technical. We do not always need to include all the elements in our documents, and quite often the listed elements are not enough for our readers.

No matter how well Didi writes, the chances are strong that her manager will make changes (a) to suit his style to the given situation, (b) to add relevant detail that only he knows, (c) to change the structure to either strengthen or soften the forcefulness of the message depending on who’s reading it, or (d) simply to assert his authority as Didi’s boss. Why fret about these issues when writing the first draft? It’ll face revision no matter what. Come to think of it, even if Didi were writing the draft just for herself, she might forget a thought or two and recall them after she’s written the first draft, so she’ll have to insert them later, in the second draft.

By taking what he says literally, Moe can let the sentence guide him through the draft, deciding what content stays and what leaves by checking it against the scoop. One final word of advice: Don’t make the scoop so mechanical to the point of triteness. This sentence is too important to include without writing it with authority and conviction. Idea Generator 5: Chart It—Mapping Your Ideas Moe: Sometimes issues are so complicated that to make them real I see them as pictures, not words. Didi: Then draw your plan!

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