![]() You apply these techniques to your own writing. Passages of it are sprinkled throughout.) (I should note the whole book is not in second person. The Graveyard Book is composed of passages like this: rhythmic prose and settings readers can interact with. By directing this passage at the reader, Gaiman invites us into the world of the story. Each word is either part of a typical middle schooler’s vocabulary or understood through context, yet a vivid picture is created through lists of specific details with a rhythm that compels readers to continue. The language within this passage is deceptively simple. You might not have seen a pale, plump woman, who walked the path near the front gates, and if you had seen her, with a second, more careful glance, you would have realized that she was only moonlight, mist, and shadow (12). You would have seen these things, in the moonlight, if you had been there that night. You could see the occasional dash or scuttle of a rabbit or vole or weasel as it slipped out of the undergrowth along the path. You could see stones and tombs and vaults and memorial plaques. You could see the funeral chapel, iron doors padlocked, ivy on the sides of the spire, a small tree growing out of the guttering at roof level. ![]() ![]() ![]() In the first chapter, Gaiman describes the graveyard, combining both literary language and strong world-building. ![]()
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