Learn2Write

Imagine you are reading a gripping story—the mystery is really deep and the characters are intriguing: lots of mind boggling twists and turns to confound your mind. You have no idea what the characters will do next. Now, wouldn’t you be even more vested in the plot if you knew where this story was taking place? What about when it was taking place? And how about the weather and the surroundings where the story is taking place? A setting of a story is all about creating the runway where you can land your piece of perfectly planned plot.

Think Time:

Let’s have a read of this example:

Sally began to get excited about the lake house vacation as she felt the car slow down. Her sisters left home for universities in different countries three years ago, and they hadn’t gotten a chance to meet since. As the car swerved right, she looked at the lawn in front of the house. Dying to go inside the house, she ran out of the door even before the car could halt.

Can you tell the time in this story? Is it taking place in the morning or night? Which year is it? Which season of the year is it? Doesn’t the absence of time references make the story seem unmoored? Time could refer to the time of day, year or even a period in history. 

Now imagine the same story when you have used the time setting properly. How does the appearance of the story change?

Sally began to get excited about the lake house vacation as she felt the car slow down. Her sisters left home for universities in different countries three years ago, and they hadn’t gotten a chance to meet since. As the car swerved right, the white wonderland greeted her eyes and she saw the sprawling fields covered in eight inches of snow. They shone golden as the setting sun reflected upon them. It couldn’t get better than this, she thought to herself as she checked for the signal on her mobile phone. Dying to go inside the house, she ran out of the door even before the car could halt.

Doesn’t this story feel clearer and better? You know the characters, the time setting of the story – winter evening – and also the year this is taking place in – the twenty-first century. 

Think Place:

The small waves below began to rise. The salty water pushed against the only floating platform that was available to stand on and lightly splashed onto our faces. Farther, the howl of the wind was beginning to get louder. With a shudder, I thought to myself if this was the end of it, as the waters climbed up to my ankles. 

Where do you think this story is taking place? The ocean? All the descriptions make it seem that way, isn’t it? But what if it was on land? A great wave could have brought the sea onto the land, and where there used to be streets, a great big salty river could now roam. Doesn’t the entire plot change then? 

The small waves below began to rise. The salty water pushed against the only floating platform that was available to stand on and lightly splashed onto our faces. Farther, the howl of the wind was beginning to get louder. With a shudder, I thought to myself if this was the end of it, as the waters climbed up to my ankles. From the corner of my eye, I noticed a car being towed away by the current; it was going in the direction of the tallest building that I could behold. Using a pole that was hanging on its side, resting on the platform where we were, I vaulted onto the roof of the approaching vehicle. The others jumped on too.

Now we know for sure that the setting of this story is not the ocean but in fact land, probably the middle of a city, overrun by the sea.

Think Weather:

In any story that we write, there is always a reference to weather, whether it plays a main part in the plot or not. It could be a stormy weather, a dull one or even a snowy one. Without the idea of what the outside looks like, the setting could be quite incomplete. Even if it plays no part in the story in hand, the weather still manages to make things lively. 

Memorising the X mark on the map, we continued onward. The sun beat down upon us with all its might, but we were not discouraged. Streams of sweat ran down our faces and our T-shirts stuck to our bodies. The only thing any of us paid attention to was the fork at the end of this seemingly endless quest. That was where the real test started. Which one we chose would make all the difference. 

Do you see how the focus of this story is the quest that the main characters were on? The weather has been mentioned, but instead of taking the focus away from the main plot, it enhances it; it makes it more challenging and exciting.

Think a State of Mind

Sometimes the setting of the story is more of a state of the mind. Pathetic fallacy is used often in settings like this in conjunction with the setting of the weather. The mood of the story is borrowed from the natural world around it. Are there scary storms in a comedy? If a story has someone undergoing a trauma or some kind of an internal struggle over something, do we describe the weather as sunny or bright? No, right? Therefore, a vivid description of what is happening outside helps create the mood of the characters inside. 

The roof began to tremble even harder than my hands as I dived under my blankets. The deep rumble that had begun far away was now right on top of my house. I was transported back to that day when my favourite pet died. The words bearing the news were thunder in my ears. The entire floor quaked jolting me back to the present as the thunder growled even before the lightning had finished flashing. 

Clearly, we can hear and feel the thunder as well as know what the narrator is feeling at that point in the story. We also know that this painful memory is going to play a crucial role in the plot. However, weather can also be used for a regular description of the outside just like time and place. 

There you have it – how to create the right setting for your story. Remember, your reader should see what you imagine. If you can create the right setting, you can tell the story right.

Do you feel the need to persuade someone for something from time to time? How do you do that? Imagine, your favourite theme park has finally opened in your city, but it is miles away. What is worse? The first five hundred visitors get a free pass to any three rides of their choice. But it is a school day. How do you get your parents to take you there? 

The key lies in the language that you use. Be it for an individual or a group of people, the art of persuasion through language is both subtly and overtly used. Let’s look at some examples below: 

1.     Rhetorical questions:

Did you know that a question is always more effective than just a plain statement? Did that make you think? Would you have had the same reaction if it was just a sentence? Are you imagining questions that could be more effective than simply stating the facts? Now do you agree that a plain statement is only passively telling you something without eliciting an action? (Do you also see how the reader has been mildly manipulated by these questions above?)

Reread the last paragraph. Do you see how questions are better than statements? It’s all about rhetorical Questions. They are questions that have obvious answers and it is the author’s way of getting a particular answer from the readers:

I think The Sandcastles is the best fair in the country.

Don’t you think that The Sandcastles is the best fair in the country?

Which according to you sounds better? Or yet, which will elicit the more favourable answer?

2.     Alliteration:

A melting pot of common and complex cultural cuisines that has a contagious effect on everyone that comes close and is constantly calling out to new connoisseurs.

The cry of a helpless puppy in distress can melt even the coldest heart. Warm up your home this winter by adopting a stray.

Did you have a second look at the above examples? Has anyone ever told you to make your language more beautiful, more flowery? Some writings catch more attention than the others. Undisputedly, metaphors and alliterations are at the centre of it. Attract viewers by adding beauty and attractiveness to your pieces. They are the highlights of any writing. They create a rhythm almost like music. Add some emotions to your sentences to bring home the point.

3.     Direct address: 

Imagine this: In a classroom, the teacher needs a volunteer to put up the decorations for the upcoming fair. 

She says, “Would anyone like to volunteer their time this afternoon?”  

How many of you will raise your hands? 

What if she said this? “Would you like to volunteer this afternoon?” addressing a particular student. 

Now, would it be possible for the said pupil to say ‘no’? 

Direct address is another effective persuasive method that compels people to take the necessary action. It is all about the psychology of our minds, and all you need to know is that when you point out to a particular person, he/she is more likely to do it than when generally addressing a group of people.

4.     Statistics

Precise statistics and facts are another method to prove your point. It is a fact. It has been proven by established organisations. There can be no dispute regarding the factuality of it. So, use them while making a point:

In the UK alone, the average age of death of homeless people is 43-45 years old.

Advertisements on flyers are likely to attract 26% more customers than those on physical newspapers.

Do you see how precise statistics and facts are more attractive to the readers than simply stating something with vague ideas? Numbers look good on any kind of persuasive genres.

 5.     Rule of three or triples:

Thus, it is established that using the outdoors during a lesson can open the minds to new ideas, break the monotony of a walled classroom and give you a fresh perspective on the same topic.

The Summer School Fair will be fun, educational and memorable.

Three words or three ideas together will emphasise a point and make it memorable. Triples carry an idea forward with more gravity. They reinforce the point and make it sound good at the same time.

 That’s it for today! Now do you feel more confident about your writing techniques? Next time you want to subtly (or overtly) persuade someone, slip in these techniques and create magic!

“How do you spell ‘love’?” – Piglet

“You don’t spell it ... you feel it.” – Pooh

 Who doesn’t love Winnie-the-Pooh stories by A.A Milne? They are clever lessons concealed as entertaining scenes and teaching kids everything from critical contemplation to the perils of poor spelling. In spite of these stories having didactic or pedagogic qualities, why do you think they are so popular among kids? Well, there are many reasons for it, but boy oh boy we can’t have enough of those heart-warming dialogue exchanges between Piglet and Pooh. 

 Just what exactly is dialogue?

 “You are writing this blog. Why don’t you tell me?”

We beg your pardon! That’s rude.

“I am just an imaginary character you invented to have a conversation with, so why don’t you go ahead and tell them.”

Fine! Dialogue is a conversation.

“Like what we are having right now?”

Exactly!

 The key to writing dialogue is finding the right balance. Bulky passages with irrelevant information that don’t really move the story along cannot be considered as successful dialogue. In a story, dialogue should reveal emotion, break up the narrative, move the story along and establish character traits.

 AUTHENTIC DIALOGUE

 Amber placed her bag down on the dresser. “Good afternoon, Mom,” she said.

“Good afternoon, Amber,” Her mom replied. “I must inform you that Lily telephoned during your absence. It was requested that you return the call as soon as you reach home.”

 This doesn’t seem realistic, right? Using sophisticated language and obeying each and every conventions of grammar will do wonders when you are writing a formal essay or letter, but people usually don’t strictly adhere to grammar rules or use formal words when they have a casual conversation, so neither should your dialogue; it should be informal and authentic. 

 Ashley dumped her bag on the dresser. “Hey, Mom,” she called as she walked into the living room.

‘Hi, love. How was your day?” Her Mom said, looking up from her book. “Lily called while you were out; can you give her a call back?”

 Unlike the first example, the second one actually captures the essence of a casual conversation between a mother and daughter. 

 ARE YOU GUILTY OF OVERUSING YOUR CHARACTER’S NAME? 

 “How are you James? Is everything alright?”

 “Everything’s fine. How about you Harry?”

“Oh, I am good, James. Are we still on for tomorrow’s sleepover?”

This can go on and on, and by the end of the story, all we will remember are their names. 

Just consider the conversations we have on a daily basis. Do you utter your friend’s name in every question you ask or response you give? We are going to assume that you don’t. It’s unnatural. 

DIVERSE CHARACTERS

No two people are the same; your characters should have unique personalities that distinguish them from one another. There are several things you should consider: where are your characters from? Do they have any accents or slang? Do they have a particular word they use frequently? 

For example, “g’day mate”, “you alright?”, or “how’s it going?” are all different greetings in English to say ‘hello’ or ask how someone is doing. (Australian, British, and American English) 

PLEASE LEAVE OUT THE INSIGNIFICANT STUFF!

Everything your characters say to each other should fulfil a goal or reveal something about the character or should be integral to the plot. In other words, leave out the pointless banter or alien stuff if it doesn’t serve a purpose.

DIALOGUE TAGS AND ACTION BEATS 

Dialogue tags (he said, she said, etc.) can become redundant if they are not used judiciously, but they are also unavoidable to let readers know who is saying what. 

There is absolutely nothing wrong with ‘said’; it is one of the least annoying dialogue tags. People are familiar with the word ‘said’ and it doesn’t draw much attention. However, an adverb dialogue tag is a different case altogether; avoid it at all costs (For example, ‘she yelled angrily’ or ‘they shouted happily.’)  

Don’t worry! Action beats are here to help. They are the parts in your of dialogue where you describe things like facial expressions, mannerisms and your characters’ inner conflicts.

Here is an example: Bella pranced around the lounge impatiently. The furrowed brows and clenched teeth gave away the anger simmering inside her. When she spotted James across the hotel lobby, with urgent strides, she approached him, “Why are you late?” 

See? The most effective way to establish your characters’ emotions and feelings is by showing them instead of telling them. 

After reading this, do you feel confident enough to incorporate authentic, witty and amusing dialogue exchanges in your story? If yes, then do it!