Which Shakespeare Play Should You See?

Created in 2013, Good Tickle Brain is the world's foremost (and very possibly only) stick figure Shakespeare webcomic.

Mya Gosling, the creator of Good Tickle Brain says: "My father introduced me to Shakespeare when I was eight or nine years old, and I've been addicted ever since."

In this flowchart, she gives you some ideas about which Shakespearean play you should see if you're unsure.

Good Tickle Brain posts updates on Tuesdays and Thursdays. You can also subscribe to a weekly email digest newsletter.

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A 5-Part Story Structure For Beginners

Guest Post

One of the first things we are taught in the 1st grade is how to write a good story. It makes sense because our lives are made up of stories. Each of us has a unique tale. Every day is a story with a plot, characters, and a beginning, a middle, and an end. So, why not tell a good story with a great structure?

Many would support the idea that a good story ought to have these three main parts. Those who agree are professional writers, movie directors, and professors. Without these three fundamental divisions, any given story would appear jumbled. It causes the reader to give up on engaging with the author’s thoughts.

1. Introduction
The beginning of a story is where the author introduces the five important questions: WHO, WHAT, WHY, WHEN and WHERE. They familiarise the reader with the characters, the plot, and the time zone. They give a general idea of what the reader has to expect from the narrative. 

In this first part, also called the exposition, the author creates a bond with the main character. It is possible to reveal the character’s aim and ensure a ‘hook’. That means to provide an incentive and a reason for the reader to continue pursuing the story.
2. Doorway No. 1
Good narrative structures also contain a delicate shift, or, as some call it a ‘doorway’. It is the section where the author puts the character into a complicated situation and forces him or her into an irreversible circumstance. This is the part of the story where the action starts to brew. The main character may end up in a difficult position and he or she develops the story goal here. This is the best time to hook the reader into your plot.
3. Middle
The first part (or introduction) serves as a section where everything is set up. The second part of the story is where the story line develops and becomes complicated. We call it the "middle". More intricate layers of the characters become clear. Secret intentions and relationships start to surface. Needless to say, as conflict ensues, tension adds to the story. 

It is a good trick to keep the reader on edge. The author also has the option to weave in subplots to add to the main plot. The middle is the part where the story starts to move towards the climax. That's the segment of a narrative, also referred to as the development, that gives the reader the sense of the inevitable conclusion.
4. Doorway No.2
As the level of conflict builds throughout the story, doorway No.2 opens. The writer can make use of it to thrust the main character into a final conflict. Let's call it the pinnacle of the narrative. This climactic moment is where a major blow or crisis usually occurs, which later sets up a potential final solution.
5. End
The end or the denouement is the climax of the story. This is the part where everything comes together and starts making sense - in case it didn't make sense before. This is the section where the author writes about the final confrontation and the inevitable aftermath. 

A good story should not have any loose ends. The denouement is the perfect place to answer all unanswered questions. Respond to inquiries that may have appeared throughout the story.

The ending can also include poetic justice or an element of sacrifice. It depends on the theme and subject matter the author chooses to write about. This elevates the already scandalous atmosphere that reader has been sucked into. 

We have an innate desire for happy endings. Often times, writers choose to provide the readers with what they know the public will generally like. Yet, the story can also end on a negative or ambiguous note. This in turn leaves the reader wondering and perhaps feeling a bit dazed.
It doesn't matter what type of story you choose to write. The most important thing to remember is to start at the beginning, continue in the middle, and finish at the end. And like a good recipe, every story should contain a little bit of spice, whether it’s love and romance, or revenge and power.

By Laura Carter. Laura is a former educator who is now an academic writing and higher education blogger. Laura’s passion is great fiction and short story writing. Follow her on Twitter.


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    Write Your Novel In A Year - Week 42: 12 Easy Ways To Find A Title For Your Novel

    Welcome to week 42 of Anthony's series that aims to help you write a novel in a year. Read last week's post here

    Goal setting

    1. Choose a title for your novel.

    Breaking it down

    Character comes first

    You could use your main character as the title of your book. A Man Called Ove by Fredrik Backman is a simple but intriguing way to use this approach.  Girl, Interrupted a coming of age story by Susanna Keysen is a good example. Note also how the comma in the title gives it an extra edge.

    The Woman In Cabin 10 by Ruth Ware capitalises on the trend started by The Girl On The Train by Paula Hawkins. (But be wary of trends — by the time you latch on to them, they’re usually over.)

    Sneak peek or billboard

    Alternatively, you could have a titillating phrase from your book as the title – like Now You See Her by James Patterson, or A Girl Walks Into A Bar by Paige Nick. Or it could be the blatant encapsulation of the plot, like Missing by James Patterson or Betrayed by Maria Barrett.

    ③  Role Play.  

    What is the catalyst or role your main character or antagonist plays in the story? Would this make a good title? The Trespasser by Tana French is a good example of this. 

    The 1980s drama/romance movie, The Idol Maker, also does this very well. To add an element of poignancy, consider The Last Tycoon by Fitzgerald.

    Classic update

    Why not play with the classics, not just for your title but perhaps also your plot? Graeme Aitkin’s Vanity Fierce is a wonderful modern update on Thackeray’s classic Vanity Fair.  Seth Grahame-Smith’s Jayne Eyre and Zombies does something similar.

    ⑤  Colour it in

    The use of colour in a title creates enormous visual and emotional resonance, if used right. Think of the crime-noir novel,  Devil in a Blue Dress by Walter Mosley. Think of 50 Shades of Grey by EL James.

    ⑥  Less is more

    Understatement can be a great way to bring some irony into your title. In A Quiet Drink by Deborah Moggach, a simple drink at the bar has far-reaching consequences for a married couple. Similarly, in Eric Rohmer’s film, Claire’s Knee, a young girl’s need becomes a metaphor for morality, sexuality, and other dangerous choices.

    A foreign affair

    A phrase from another language is sometimes a great approach – as it adds in some exotic flavour. Saraband by Patrice Chaplin is a great example of this. Using the name of a slow, stately Spanish dance for the inexorable sexual obsession the heroine, Kay Craven, finds herself in is a perfect metaphor.

    ⑧  Quote unquote

    A snippet from a song or poem can work well as a title, especially if it relates your plot, character, or theme. For example, John Clare’s poem I Hid My Love has some great phrases that tie the sensation of summer to the sensation of love.

    Ray Bradbury’s collection of short stories, I Sing The Body Electric, is taken from a poem by Walt Whitman. Just remember that the Bible and Shakespeare have been exploited to death.

    ⑨  Opposite attract

    Placing two contrasting words or images next to each other can create a powerful title. The Stone Boudoir, a memoir by Theresa Maggio, is a wonderful example of juxtaposing two opposite images or objects. A boudoir is meant to be soft and sensual, why is it made of stone? My favourite is probably Fabulous Nobodies by fashion journalist and novelist Lee Tulloch.

    ⑩  Rhyme in time

    A run-on or rhyming title is a nice quirk to add to your book – especially if your book is a bit quirky. Me, Earle, and the Dying Girl by Jesse Andrews is a perfect example of this approach.  The Divine Secrets of the Ya Ya Sisterhood by Rebecca Wells also adds a bit of sass and rhythm to the title.

    ⑪  Double Trouble.  

    Sometimes a title has double meaning or hints at a double entendre. For example, if you called your book ‘Killing time’ — it could be about filling up idle time or, quite literally, a time to kill your enemies.

    For example, the movie The Deep End, starring Tilda Swinton, is about a drowning victim – but also the emotional deep end the characters find themselves in.

    Setting is king 

    I’m thinking of using the setting of the beach house in my novel as a title. A setting is a great way to ‘anchor’ your title. The Little Paris Bookshop by Nina George is a charming example of this approach. In A Dark, Dark Wood by Ruth Ware. Notice how the repetition in the last title works to great effect.

    Timelock — 1 to 2 hours

    Take a few hours to brainstorm the title for your novel.

    5 Quick Hacks

    1. Create or draw a mock-up of the front cover of your book – see if the title ‘pops’.
    2. Look at Amazon top sellers and examine their titles etc. – see if you can spot any similarities or trends.
    3. Keep in mind people love the idea of ‘exclusivity’; they love the word ‘club’ and so forth. Think The First Wives Club by Olivia Goldsmith or Hollywood Wives, by Jackie Collins. The Serial Killers Club by Jeff Povey is another.
    4. ‘Secrets’ are powerful reader-attractors.  Think of The Secret Life of Husbands by Kirsty Crawford or The Secret Life of Bees by Sue Monk Kidd. Donna Tartt’s The Secret History is another.
    5. Try to find 3-5 lines or phrases from your manuscript that may make a great title.

    Pin it, quote it, believe it:

    ‘That’s a fair gloopy title. Who ever heard of a clockwork orange?’ — Anthony Burgess

    Look out for next week’s instalment of Write Your Novel In A Year!

     by Anthony Ehlers

    If you want to learn how to write a book, join our Writers Write course in Johannesburg. 

    If you enjoyed this post, read:
    1. Write Your Novel In A Year - Week 41: 7 Questions You Need To Ask Of Your First Draft
    2. Write Your Novel In A Year - Week 40: 3 Rules You Can Break To Start Your Story
    3. Write Your Novel In A Year - Week 39: 3 Big Questions That Demand An Honest Answer

    Writers Write offers the best writing courses in South Africa. Writers Write - Write to communicate.

    18 Beautiful Words With No English Equivalent

    Source: Grammar Check

    If you want to improve your business writing, join us for The Plain Language Programme. If you want to learn how to write a book, join our Writers Write course in Johannesburg. 

    If you enjoyed this post, read:


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    10 Ways To Be Brief (But Not Abrupt) When You Write Emails

    You know those days when you get home from work and your partner asks you what you did that day and all you can say is ‘I answered emails’? Email takes up a lot of our time. We spend all day in our inboxes. We reply and send and ask. 

    It makes sense that shorter emails are more effective, but if we cut too much we run the risk of alienating our reader, because we can come across as abrupt. 

    Here are 10 ways to keep it short, but professional

    1.     Use a greeting.

    Often when we rush, we leave out the greeting. Make sure to always include one. Words like ‘Hello’ or ‘Dear’ are good to use. 'Hi' isn’t the best for business, but it also depends on how formal or informal your company communications are.

    2.     State the reason for writing as soon as possible.

    We tend to start with clichés like 'I hope this email finds you well'. We can do this, but we should try to avoid doing it. We want to state the reason for writing as soon as possible. We may think adding a phrase like this makes us sound polite, but when we read clichés our brains shut down a little bit. We don’t want your reader shutting down. 

    3.     Write in full sentences and use pronouns.

    We tend to leave out pronouns and write in incomplete sentences. This makes our messages abrupt. Don't do it.

    4.     Find the positive.

    This is an art. Always try to turn the negative into the positive. Avoid negative words. Words starting with 'un-' and 'non-' aren’t ideal. Re-examine those words and try to replace them.

    5.     Proper spelling and grammar.

    Use a UK spellcheck and we suggest that you read your email aloud. Paying attention to our spelling and grammar is a sign of respect and professionalism.  

    6.     Use contractions. 

    Contractions soften your tone, so use them if you need to do this.

    7.     Beware of capital letters.

    Capital letters are the written equivalent of shouting, so avoid typing in CAPS.

    8.     Avoid using colour to highlight.

    Computer screens are calibrated differently, and what might be a nice grey colour on your screen is invisible on your reader’s screen. Also, we don’t all have colour printers. Use bold instead. Avoid using red type; people do not enjoy red words.

    9.     Reference a future contact.

    This is where we can make up for leaving out “I hope this email finds you well”, but try to make it original. Try “I look forward to receiving, meeting, seeing…” It makes your email positive.

    10.  Call to action with instructions.

    Anything we write should inform, entertain, or persuade. If you can do all three, you rock. Most business emails inform or persuade. Make sure you are clear about what you want the reader to do after reading your message.

    Example 1:

    See attached document. Feedback required asap.
    Terms non-negotiable.

    Example 2:
    Hello Jane

    I’ve attached the document as requested.

    Please reply to this email with your comments by Tuesday, 24 October 2016. The terms are fixed.

    I look forward to receiving your feedback.

    Kind regards

    Emails are delicate. The average employee receives about 50 of them a day, if we spend just five minutes with each email we’ll spend about four hours in our inbox. So remember, to keep it short, but keep it sweet.  

    If you are interested in learning how to improve your business writing skills, join us for The Plain Language Programme

     by Mia Botha

    Writers Write offers the best writing courses in South Africa. Writers Write - Write to communicate.

    9 Practical Tips For New Bloggers

    Starting a blog can be overwhelming. Too much technical terminology and lots of unnecessary social media statistics may put you off forever. I've put together some practical tips for beginner bloggers. Don't be afraid. Be sensible.
    1. Forget about SEO (Search Engine Optimisation) in the beginning. When you start blogging, search engines will not notice you. You have to build your presence on the Internet by creating lots of quality content. Once you do this and establish your credibility, Google will notice you.
    2. Don’t worry about word counts.  There are many statistics about how long the ideal blog post is, but I think that when you are finished saying what you want to say, stop. 
    3. Use the news. Look at items in the news. How can you incorporate what is happening into a blog post without it sounding forced? For example, if you are a fiction writer and you are interested in the US elections, you might consider using Donald Trump as an example for creating a narcissistic character.
    4. Twist a post. If you love somebody else’s blog post, and feel you have something to add, write a new post in response to it. Tell your readers where you read it, linking to the post, why you liked it and then carry on writing your own post.
    5. Read bloggers you admire. Think about why you like reading them. Did they inform? Entertain? Change your mind? Try to work out ways that you can do the same. Some of our favourite blogs are Writers Helping WritersWriter Unboxed, and Helping Writers Become Authors.
    6. Avoid ads and pop-up windows. Don't use these unless you have a good reason to do so. I think about how I feel when I visit a site that uses them and consider if I find it intrusive. How do they make you feel?
    7. Don’t use misleading blog titles. Unless you have sensational, mind-blowing content that delivers on the promise of the title, it’s a good idea to avoid doing this. Readers will be annoyed. They will stop trusting you and may even consider not following you. You can still create titles that are catchy with the content you have.
    8. Images matter. Blog posts without images are a waste of time. Spend some time searching for one that suits your content or create one like we have for this post. Look at Unsplash and Pixabay for free images. You need the image when you're sharing on social media. [Read The 9 Essential Social Media Platforms]
    9. Don’t clutter your posts. Keep it simple.  Use one image per blog. Use lists. Make sure you have lots of white space. Use bullet points. Write in a user-friendly format.
    Happy blogging!

    If you want to learn how to blog and write for social media, join us for  The Complete Blogging and Social Media Course

    Source for gif

     by Amanda Patterson. Follow her on Pinterest,  Facebook,  Tumblr,  Google+,  LinkedIn, and  Twitter.

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    e.e. cummings - on being nobody-but-yourself

    Edward Estlin Cummings, known as e.e. cummings (born 14 October 1894, and died 3 September 1962) was an American poet, painter, essayist, and playwright. His work includes more than 900 poems, several plays and essays, numerous drawings, sketches, and paintings, as well as two novels. 

    He was one of the most popular, pre-eminent poets of the 20th century. In the mid-1900s, he was the second most widely read poet in the United States (Robert Frost was the first). In his life, Cummings received many honours, including an Academy of American Poets Fellowship, two Guggenheim Fellowships, and a Ford Foundation grant.

    He explains, in this reply to a letter from a high-school editor, what it meant for him to be a poet.

    Source: Journal of Humanistic Psychology Source: Image

     by Amanda Patterson. Follow her on Pinterest,  Facebook,  Tumblr,  Google+,  LinkedIn, and  Twitter.

    If you enjoyed this, you will love:

    1. 7 Writing Tips From Roald Dahl
    2. The Man With The Golden Pen — 5 Writing Secrets From Ian Fleming
    3. 6 Things Alfred Hitchcock Can Teach You About Writing


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    Write Your Novel In A Year - Week 41: 7 Questions You Need To Ask Of Your First Draft

    Welcome to week 41 of Anthony's series that aims to help you write a novel in a year. Read last week's post here

    Goal setting
    1. Read over the draft of your novel.
    Breaking it down
    As we finish up our drafts, it’s time to look at how our first-draft manuscripts hold up. Keep in mind, this isn’t an editing process – it’s more of a health check. In fact, it’s probably not a great idea to change too much at this stage. Think of an artist standing back to look at his painting – a squint in his eye, looking to see if the balance is there.
    ①     Is there a sense of danger in your writing?
    OK, I know what you’re thinking. “But my novel isn’t a thriller.” That’s not what I mean. This is more about you, as the writer.

    Is each line in the story – each paragraph, each chapter – alive with your own sense of vulnerability, your own sense of exploring something personal? Or does it feel safe?  In your first draft, you shouldn’t hold back – you should explore bravely, perhaps even foolishly, as you explore everything there is about your story.
    ②     Is there enough heat in your story?
    OK, so your story isn’t set in the tropics – but again this about the power of emotion rather than temperature. Have you invested enough emotion in your characters, in their actions and their motivations? Cold stories don’t have characters – they have caricatures. They don’t tell us what it’s like to be in love, to be scared, to want something so bad and be afraid we won’t get it.

    Have you exposed your characters?  How can you make the plot more human-centric? Fancy plot turns are great, but we need characters – characters feeling every spectrum of emotion – to make those turns and twists work.

        Have you told the story you wanted to tell? 
    Think of that artist standing back at his easel. Perhaps he wanted to paint a wild horse – sweating, beautiful, suggesting movement and power – and instead he’s ended up with an elegant drawing-room picture of a stately horse?  Not quite what he had in mind.

    Sometimes we try to ‘shoehorn’ our stories into a perfect frame or formula.  We end up losing our initial spark or impetus for the story.  Think of your theme – the burning flame that curls the pages of the manuscript – and ask yourself if you’ve managed to wrestle with the questions you wanted to answer?
    ④     Have you achieved clarity in your story?  
    This point can’t be overstated. Is there clarity in the shape and structure of your novel? Does it start and end in the most natural place? Are there any chapters, paragraphs, sentences, and words that create unwanted or unintentional ambiguity or confusion? 

    Keep in mind ‘clarity’ doesn’t mean boring. It means being specific. It means giving the reader a radiant and powerful image of your story, your characters, and your theme.
    ⑤     Does your story have rhythm?  
    Look at your sentences and paragraphs. Even the syllable-count in your words. Is it staccato? Like Morse code that’s going to hammer monotonously against the ear? Or have you achieved a pace that rises and falls along with the tension and conflict in your novel? 

    Some authors like to keep things crisp, tight, fast.  Others like to create a more leisurely cadence.  But most are aware you need to shake things up now and then. Otherwise, you’ll end up with a flatline. 

    And here’s another thing: if you’ve raced through the writing, there’s a chance that the reader will pick up on that haste – and the whole thing may feel rushed.
        Are you indulging yourself or entertaining the reader?  
    In my journal, I found a poem I wrote. I was half-asleep so it’s not great. I’ll give you a fragment: ‘… brought into the light through the wound of the sun.’  Part of me likes the imagery it creates and, yes, perhaps it works in a poem. Would I use it in a book? No. Well, certainly not in the type of psychological thriller I’m writing at the moment. It’s a bit too self-indulgent.  For a more literary book? Perhaps — but even there I’d exercise caution.

    Be careful of this self-indulgence when it comes to your work, and see if your eye stumbles on it in your first draft.  It creeps up especially in description; often it manifests in over-explanation.  Our first, and most primary, goal is to entertain the reader.  If it doesn’t serve the story, or suit the genre, it’s probably going to have to be cut from the next draft.

    ⑦     Do you still have strong feelings about this story? 
    I was going to say “Do you still love your story?” but, let’s face it, there’s time that we hate our stories – times when we’re frustrated, angry, lost, stuck, I could go on. The idea is – are you still “connected” to it?

    It doesn’t matter what the emotion is – as long as it’s still strong, and still powerful. The worst thing you can feel about your book is indifference.

    What do you feel right now? Indecision is OK. Ambivalence – that’s to be expected. Panic. Terror. Excitement. Yes, all these things. But if you don’t care about the story, it’s probably not worth going on to draft two or three.  It’s like dating someone – if you don’t feel anything yet, you’ll probably never feel it.
    Timelock — 4 to 8 hours

    Take a couple of hours or a day to read over your manuscript.

    5 Quick Hacks
    1. Choose a chapter at random for your book. Rewrite it in a way that totally disrupts the plot of your story.
    2. Write a scene of your book as a poem. Do it with your theme too.
    3. Write a love letter to your book. Tell it how you love it – what you dream about it.
    4. Write the synopsis for a proposed sequel to your book. You don’t have to commit to it. Just do it as a fun experiment.
    5. Take a hot shower. Have an early night.
    Pin it, quote it, believe it:

    ‘I got into my bones the essential structure of the normal British sentence – which is a noble thing.’ — Winston Churchill

    Look out for next week’s instalment of Write Your Novel In A Year!

     by Anthony Ehlers

    If you want to learn how to write a book, join our Writers Write course in Johannesburg. 

    If you enjoyed this post, read:
    1. Write Your Novel In A Year - Week 40: 3 Rules You Can Break To Start Your Story
    2. Write Your Novel In A Year - Week 39: 3 Big Questions That Demand An Honest Answer
    3. Write Your Novel In A Year - Week 38: 3 Criteria For A Perfect Scene


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    5 Ways To Write In A Genre And Still Be Original

    If you don’t want to write to genre, and if you don’t believe in it, please feel free to stop reading now.

    There are definite benefits to writing in a specific genre. Readers and publishers like knowing what to expect from a book. But one of the most common complaints about genre is that the book is too similar to this or too similar to that. 

    This makes it hard for us as writers, especially in the beginning. We want to be original, but we must still fulfil the promise of genre and write something that suits. It’s a fine line and not always easy.

    I recently read The Power of Habit by Charles Duhigg. It is a fascinating book that examines the habits of individuals, companies and societies. I seriously recommend you read it. The book discusses behaviour and how to change or manipulate our habits. 

    One of the examples he uses, comes from music and tells us about how radio stations and music companies try to predict hit songs. 

    But what does that have to do with genre?
    If you look at hit songs, they must comply with the requirements of that genre. Consider the biggest bands in any genre, look at how their songs emulate what is expected of the genre and then look at where they broke the rules.

    But to come back to the book, Charles Duhigg uses the example of a company called Polyphonic. This company developed a program called 'Hit Song Science'. It analysed statistics and used algorithms to predict whether a song would be a hit. 

    The song Hey-Ya by Outkast was expected to be a huge hit, according to this program. It ticked all the required boxes, but when the song was first played it did not do as well as expected. In fact, almost half the listeners changed the station when the song came on. 

    It was considered too different, not genre specific-enough. So now what? The program had never let them down before. They decided to ‘sandwich’ the song. Each time it aired they played a really popular song before and after it. Listeners did not change the station and they got used to the song. Eventually Hey-Ya reached the top of charts and achieved the predicted success. Interesting, right?

    So now back to writing. We need to give readers enough of the familiar to tick the boxes of genre, but then we need to add new developments and dimensions to our stories.

    Here are five tips to help you:
    1. Read as much in your genre as you can.
    2. Write down the five most common traits of your genre.
    3. Write a list of things your story has in common with the genre. 
    4. Write a list of the ways your book crosses-over into other genres. 
    5. Make it your own. Your style is what will set you apart. Be unique, be you, and sandwich it with the familiar.
    Don’t try to change every single thing. Remain true to the genre, but true to yourself and your writing.  

    If you want to learn how to write a book, join our Writers Write course in Johannesburg. Please email news@writerswrite.co.za for more details.

    Writers Write offers the best writing courses in South Africa. Writers Write - Write to communicate.

    The Science Behind Writing Drunk And Editing Sober

    Ernest Hemingway is famously misquoted as having said 'write drunk, edit sober'. It may sound as if it is something he could have said, but as Jeff Goins explains, even if he had said it, he certainly did not practise what he preached.

    Brendan Brown from The Expert Editor writes that 'the quotation was probably derived from a 1964 Peter De Vries novel, Reuben, Reuben where his main character said: “Sometimes I write drunk and revise sober, and sometimes I write sober and revise drunk. But you have to have both elements in creation — the Apollonian and the Dionysian, or spontaneity and restraint, emotion.”'

    It doesn't matter who said it, though. All we want to know is if it's true or not, and we're pleased that they've looked at the science behind it in the infographic below.

    Source: The Expert Editor blog 

    If you want to improve your business writing, join us for The Plain Language Programme. If you want to learn how to write a book, join our Writers Write course in Johannesburg. 

    If you enjoyed this post, read:


    Writers Write offers the best writing courses in South Africa. Writers Write - Write to communicate.