By Valerie Griswold-Ford
the full consultant to Writing delusion bargains anything for writers of all degrees, supplying suggestion and distinct guideline for making a plausible delusion global. The amateur writer will locate the e-book helpful for its sage suggestion, whereas already released fable authors will locate the booklet stress-free for its good written type and wealth of reference fabric. suggestion on global development, religions, foodstuff, battling & weaponry, and masses extra, can help remodel the mundane into an epic myth tale.
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Additional resources for Complete Guide to Writing Fantasy, The: The Author's Grimoire
12 It is possible to identify a number of formal properties belonging to the imprint, from its standard position at the foot of the title-page (and in the earlier part of the period its occasional repetition as a colophon at the end of a work) to its internal logic. Greg oﬀers a brief taxonomy of the three possible forms an imprint might take: ‘Corresponding to the earliest practice is the simplest type of imprint, “Printed by A” . . The employment by the printer of a distributing agent gives rise to imprints of the type, “Printed (by A) for B”.
Goddard’s imprint declares the satirical intent of the epigrams which follow, and which establish themselves as inversions of convention and even of personal relationships: as opposed to expected norms as if they were issued in the Antipodes. 51 As in the Martin Marprelate tracts, however, Goddard’s imprint also puns on its real place of origin: it was printed in Dort, in the Low Countries, here reimagined as literally beneath the globe. Like most false and ﬁctional imprints, Goddard’s obscures the identity of the stationers who produced it, undermining the claims to ownership and authority made in other texts.
This practice might be regarded as interpreting the title-page, as well as the contents of the book. 38 Both Protestants and Catholics, at times, spoke of the other as heretics, and a tract of 1566 demonstrates how a running title could elucidate a title-page. 40 At the end of the seventeenth century, religious tracts were still using running titles to spell out what was opaque in the title-page. 41 Throughout the early modern period, then, religious tracts used running titles to try to shape the reader’s response to a text, through a generic running headline which sought to interpret the work as a whole.
Complete Guide to Writing Fantasy, The: The Author's Grimoire by Valerie Griswold-Ford