I've always loved poetry,the sound ofthe words, their rhythm, the images they conjure.

(When my grand-daughter, Maudie, was three, she learnt the word 'porcelain' and used to whisper it to herself. Her lips were rounded as she articulated the exploding 'por' sound. This made me realise, again, how important it is to read poetry aloud, as well as from the page).

Reading poetry with appreciation sets the standard forprose writing.

Poetry demonstratesthatrhythm and balanceis necessary for the sake of style, and this applies to prose as well.

The last sentence of my novel, 'Salt Blue',reads: 'My name floats through the air, like white light condensing on leaves, on flowers, like oil, floating on water'.

'Like white light' has an internal rhyme scheme, and the repetition of'like white light' is picked up in 'like oil'. Similarly we have 'on leaves, on flowers' and 'on water'.

I have used poetic techniques to write prose with the intentionof bringing a long novel to a slow close. The effect of using words such as 'white', 'water', 'leaves', 'flowers'and 'oil' is to createalmost a sacred space, the feeling of resolution. Stella knows and accepts who she is.She is secure in her identity and this is a blessing.

In ' Salt Blue ', too, I've conjured up colours to represent feelings:

'It is the reds, more than any other colour, that vibrate. Cochineal, verbena, magenta, carmine, fuchsia, flaunting crocosmia, Chinese lacquer red, Marilyn Monroe lipstick red and all the geranium combinations that lead to the deep red ox-blood, the same shade as our front doorstep . ..'

Not poetry, quite, but uplifting, creating a mood. Red, the colour of passion, of life, to betaken in small amounts or great, brimming mouthfuls, depending on your need.

One reviewer said 'Gillian Morgan is'nuts' on colour: mayonnaise yellow, slime lime green, Temple gold, Geisha Redand she makes them all up!'

Colourwrites the poetry, drenches the rainbow. Drink deeply.