Improving in Writing.

This is long. Make sure you read it completely and understand every word. Information
was gathered from various sources, my own observations and views. If you didn’t know
those concepts learn if you revise and enhance. If have something to share, please.

WHO? WHAT? WHEN? WHERE? WHY? HOW?

You should be able to answer all these questions once you are done with the script or
story or vice versa write the story by answering these questions through brainstorming.

1. Writing descriptively : the description should make reader how character feels,
explain it in a tactical language. It should engage their senses, the description such
as “ the world was ghost-quite, expect for the crack of sails and the burbling of the
water against hull.”

observe, every word has a particular quality of sound

crack - is the sound which has a complexity to tigger you hearing sense
crack of sails - its motion, the sound describes the motion of how the boat is
moving
ghost quiet - is sound and sense of absorptivity, ghost quiet is collectively giving
you a metaphor. A abstract connection
burbling - it’s the same, the sound when boat rubs with ocean. Sound gives us a
picture of motion.

instead of this we could simply write that a boat is going on an empty sea but sea
the impact the previous description is giving. It’s making the reader to feel exact
same that what the person on boat would feel. That’s what we call immersive. Try as
best as you can to immerse the reader.

avoid cliche : don’t use the common structures I.e commonly used sentences such
as red as rose. It won’t dis-engage the read

when you write choose correct and engaging words which gives reader a sense of
sound, vision, smell, taste and touch and moment and create unexpected plots

Put their imagination test. create a space where they can feel and connect.

2. Writing suspense : the greatest and best is the ‘Fear of Unknown’ . We have leave
them anticipating.
ex :What’s inside the mansion, how the killer among them, will he save, what is the
dark secret.

The key, the key here is create a mysterious question which audience crave to the
 answer while maintaining the anticipation and delaying to reveal until the point
where it can no longer be hold.

only two engaging ways of audience, one by creating a suspense and revealing it
but remember the audience should crave to know the answer and second way
making them crave i.e by making them to see both hero and heroine to kiss each
other, make reader to crave for that even he knows that it might happen but
maintain that take it to a point where the kiss between them them gives reader
chills of emotions. Either through suspense or through emotional craving these are
two good ways to hold their attention and also to satisfy the reader/audience.

techniques of suspense : Limit the point of view i.e instead of giving big picture
allow them to see what you want them to see at that particular point through the
lenses of character or a place.

choose the right setting i.e place, theme, imagery, night time, fog

forms and styles: pauses, abstract description, illusion inside the character’s brain,
explore power of silence and noise. Creating a discomfort.

Dramatic irony - it’s not what will happen but when, why and how it will happen. (Ex
: last scene of Bahubali 1 we know that kattapa killed Bahubali but we need to
know how? Why? When?. The irony in the drama

3 types of suspense : one - both the reader and character doesn’t know the
mystery, two - character knows but reader doesn’t , that is one great and common
rescaling point. Third - reader knows but character doesn’t know that plot, here all
that reader wants is character knowing the truth or plot.

The cliff hanger - the infamous technique, this is used either in the end of chapter
or season or episode or next part. Where you there is very slim chance of hope you
would absurdly cut whether something crucial is going to release.

the sigh: where the character goes into a problem and you make read feel that
character is going to die but in the very last second they make out it. Until the very
last second the reader holds his breathe, the character escapes with a very tight
gap which makes reader to hold breathe until then and they give a sigh of
emotional relief. Near certain disaster that give adrenaline rush

3. Building a world: just like real world they operate on spectrum of broaden,
creative and physical rules that what makes seems familiar yet so fanatical i.e
believable and worth exploring. Rules, maps, languages, cultures, principles,
universes and the main thing limitations. How they over come them and how they
use the loop holes and blend rules what makes that world or character intriguing.
 From these worlds story after after story comes.

this narrative which completely invented by author should touch the reader both
on logical and emotional scale.

fantasy is of course what makes a life of person interesting and also hope.

the techniques : establish a system/principle that is core on how your world works.
create a Timeline on when and how these happened. then answer the question :
what events might have led to where we are now. Ask questions and answer.
Establish rules, sets of characters their characteristics. In a fi ctional world Both the
principle of that world and characteristics of characters in fact the perfect volatile
blend of them makes a world great. Draw the details. The best thing that help is
write 6 pages on how day to day life looks on this world that’s a great way to build
many details and correlations. How to they look, communication, transportation,
access to information and many. You will never be complete this keep on adding
on the basis you established then blend in characters.

4. How to write comedy: did you ever notice how many jokes start with did you ever
notice. They are lot of jokes or comedy to be found within ordinary every day
things that you won’t ordinarily notice everyday.

the techniques: the contrast - when the smartest guy did the stupidest thing or
duffs out smarts the master. We laugh because we didn’t see that coming.
- the secret to humour is surprise
- we laugh at things that seems out of place.( a nun disco dancing or a baby) I.e
fi nding incongruities (not being in place)
- the best way to fi nd is drawing them , incongruities. Pick a word and draw lines to
that word
- what if ? Is the best way for comedy what if this happened,
- it is comedy as long it doesn’t happens to you, work this in your script.
- insert the punchlines at the end of the line
-humour is subjective, comedy is trail and error, writing is re writing . Keep working
add contrast, include incongruities, add comical punchlines which are organic and
where reader don’t see them coming, add surprise and let things go out of place.
The most important rule of writing funny- have fun!

5. Understanding Anti-Hero: the legend and epics we saw many characters from
Rama, krishna to Harry Potter and Luke Skywalker . Anti hero not villain no. Anti
hero however at best show some developing traits at worst he is totally inapt. Anti
hero is who lacks conventional heroic attributes. As the time the difference
between hero and villain are diminishing. Once hero is meant to righteous, strong
and everything one dreamt off but now hero have fl aws, weakness and inabilities
unlike the conventional way. The heroism no longer only resides in the capability
 but how he overcomes those. Once heroes fought demon and devils, anti hero is
the same person but who fi ght that inside, inside of him.

6. Writing dialogue: it gives the story colour, its take the story forward, exiting. In fact
dialogue is the story.
it have to as captivating as possible. Use the complete power of dialogue. what the
said, the matter, in which way he/she saying it, what’s the tone, what’s the pitch,
when should it pause, when it is silent, when and where and why the voices
elevates or drops. Replying in a way unexpected. Short or long. There are many
forms of dialogues and make sure you use the maximum you can. Because
dialogue is the drama and drama is the dialogue. Try to fi gure out how dialogues
and dialect should be for each character, be constructive and structural. explore
different styles. Move the story with dialogue. Make it sound natural as if two real
persons are talking. It should be like you just took notes from two people having a
conversation or as you keep a camera there of course dramtization is best but
when and where changes the context.

techniques: watch many movies or read many bookstand understand the way
dialogues are being written and told.
- eavesdrop into some real life conversations
-start pretending that your characters are real, think about them what are they are,
where are they from, what are their likes and dislikes. Now write what would they
talk if they meet you or take those two characters and let them talk in very normal
situation like how those both talk or do if they meet each other on a bus.
- after all what they say is what they are or viceversa
- muttering to yourself : make conversational natural, most of people or
conversations will be informal, they will be simple.

7. I, ME, MYSELF : I invited her, she invited me // she danced around me. Its not jack
and me talked its Jack and I talked. Mostly myself comes only after I which should
either refl ect or intensify I i.e I consider myself or I, myself had been there.

8. When to use a comma ( , ):

conjunctions - (for,and,nor,but,or,yet,so - FANBOYS) these require comma mostly
but not always.
here comma comes before conjunctions.
ex : 1 where conjunction holds the two equal length sentences : Varun was
accepted into VIT, and he is on waitlist for iit.
ex2: where conjunction hold two unequal or not equally distributed sentences :
sagar is going to dance for English or Telugu song ( here comma is not needed
before or because sentence is very small after or .)
subordinates - they are words that connect two unequal things.
They make very clear what is being prioritised in a sentence- ( although , because ,
unless, however , before, even though etc..)
when subordinates is evenly distributed with sentences such as : he loves political
 debates even though he usually loses. Here. We don’t need a comma.
But when subordinates comes in front the sentence i.e even though Varun loves to
sing, he never sings in front of others. Here comma is place directly after
completion of the fi rst sentence.
other examples : Having fi nished the test, he left the room.
After the test but before lunch, I went jogging.
John said without emotion, "I'll see you tomorrow."
Use commas to set off all geographical names, items in dates (except the month
and day), addresses (except the street number and name), and titles in names.
while describing about something.

9. Slowing down the time: capturing second by second tension or emotion or

anything that is produced by the scene. A guy hits the ball and it’s crosses the
boundary it is a six and they won. This happened in 5 seconds but slow down the
time how long does it take to see or read for the reader to see or to read that fi nial
place where ball just crosses of the boundary by an ounce of an inch wavering in
the air. Slow down the time either with description or with tension. this makes the
normal scene into something which takes away the breathe of audience and give
them back. Story telling has the capacity to slow the time use it but only wisely.

So, as a re-cap we have learned : 1. Descriptive writing | 2. Creating suspense and

techniques | 3. Building a world and how | 4. How we generate comedy | 5. Anti -
hero | 6. How important is dialogue and few techniques | 7. I, me, myself | 8. Who is
use comma on basic learn(try to learn more) | 9. Slowing down the time. Try to
consciously implement this in your story writing or telling process. Don’t learn and
learn implement and improve and break the rules. Share this with others by saying
so you will also absorb more while doing so. Please share anything you know or
please discuss or contradict if have any.