This week when we came back we were told that our next project is going to be writing pieces for tourists to listen to as they walk around an area. We were told that our pieces can be fictional but that the area that we choose needs to be real and needs to work with our written work. I have chosen to do a walk around the area known as Reculver which is near Herne Bay. The walk will begin with a stroll along the cliff, past the visitor centre museum, then up to Reculver roman ruins Tower and finally down to the beach side pathway, which is where it will end.

Once we had chosen our route for our walk we then had to answer setting-based questions to help us when writing our stories to go with our walk. These questions were the same questions used in week four when we wrote our setting descriptions. Another thing we did to help us with the construction of our pieces was researching the historical aspects to our chosen route and the landmarks throughout it. To do this I looked online to find some information about my chosen area, and I also hope to visit the area soon, which would help to give me primary research on the route.


This week we also looked at different genres of writing, to help us decide on the genre and conventions that we want to use within our writing. An example of one of these is horror, which is explored in Algernon Blackwood’s The Empty House:

Certain houses, like certain persons, manage somehow to proclaim at once their character for evil. In the case of the latter, no particular feature need betray them; they may boast an open countenance and an ingenuous smile; and yet a little of their company leaves the unalterable conviction that there is something radically amiss with their being: that they are evil. Willy nilly, they seem to communicate an atmosphere of secret and wicked thoughts which makes those in their immediate neighbourhood shrink from them as from a thing diseased.

Another example of a genre is crime, which is explored in Ian Rankin’s Fleshmarket Alley:

I’m not supposed to be here,” Detective Inspector John Rebus said. Not that anyone was listening.

Knoxland was a housing scheme on the western edge of Edinburgh, off Rebus’s patch. He was there because the West End guys were shorthanded. He was also there because his own bosses couldn’t think what to do with him. It was a rainy Monday afternoon, and nothing about the day so far boded anything but ill for the rest of the working week. Rebus’s old police station, his happy hunting ground these past eight or so years, had seen itself reorganized. As a result, it no longer boasted a CID office, meaning Rebus and his fellow detectives had been cast adrift, shipped out to other stations. He’d ended up at Gayfield Square, just off Leith Walk: a cushy number, according to some. Gayfield Square was on the periphery of the elegant New Town, behind whose eighteenth- and nineteenth-century facades anything could be happening without those outside being any the wiser. It certainly felt a long way from Knoxland, farther than the three factual miles. It was another culture, another country.

Overall this week helped me to begin the writing process of this project and helped me to figure out what genre and route I wanted to use.


References:

  1. Blackwood, A. (1917). The Empty House. [Accessed: 08/01/2017]
  2. Rankin, I. (2005). Fleshmarket Alley. Publisher: Little, Brown and Company. [Accessed: 08/01/2017]
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