Learn2Write

“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! 

Have you ever wondered how some words can leave you breathless and wanting to know what happens next in a story? Is it always only the plot that makes a story exciting? Or could it be the way the words are placed in a sentence? Sometimes it is many words woven together that create an exciting read. Sometimes, it is just one word that provides an answer. How does an author create tension through their sentence structures?

The following example will make things clearer:

The gun was shot. Like a wind, we took off. The first boy I passed by was really easy. I was already ahead of four others, who were struggling, but I did not have time to look at them. I concentrated forward. Crossing the second boy, too, went like a breeze. I was getting there. And I did. This was as easy as water. Now only one more opponent was left. And I was yet to engage my fastest gear. I was waiting for the opportune time. Then it came. I engaged. But nothing happened. What? He was still ahead. I did it again. Still no success. He was a full metre ahead of me. I tried again. Nothing. No matter how hard I ran, he always seemed ahead of me. If only I could reach out and grab his vest, I could sling myself (symbolically, of course) ahead of him. The finish line was only a few feet away. My last chance. This was it – now or never. I gave it one last effort. My feet left the ground and took flight as we both flew across the ribbon on to the other side, with me inches behind him.

What do you notice about these lines?

• Varying lengths of sentences are a must. Action is best expressed when a long descriptive sentence is suddenly followed by a short crisp one. That creates a change of pace. A change of pace creates tension. Use truncated sentences for this. Place many short ones consecutively. Do you notice the burst of short sentences peeping from between the rest and making all the difference? Even a single word sentence is sometimes enough.

• Write long, complex sentences that prolong the explanation and create an atmosphere of heightened suspense. The reader becomes impatient for the end of the sentence when the author will reveal what happens next. Look at the last sentence in the example above. You can even have complex sentences with one dependent clause or compound sentences that have two independent clauses for effect. The idea in each is to keep the reader on their toes for the eventual result. 

• Provide only partial answers. This ought to leave the reader breathless. Leave them wanting for more; give the answers, but not all. Make them wait; that will make them want. Gradually build the scene. Make the great reveal only towards the end. Could you tell if the narrator won the race or lost it before you read the last line?

• Build the action upwards. As you write, keep building the tension in the action. Very similar to the last point, don’t reveal at once. Tease the reader. Every few sentences, add an extra clue: a thought, a plan or a significant development. Pay attention to the thoughts of the narrator. Do you see how the thought precedes the plan that is made and then executed? It should almost feel like a rhythm.

• Punctuate correctly. Full stops are you best friend here. Commas may be used but only to provide grammatical correctness. Don’t overload with exclamation marks. They reduce the seriousness of the content. 

Showing a fast-moving action or horror-filled scene is very easy in a video. But that can be achieved in writing as well. Just structure the sentences correctly, and use the magic of the right word. There you go! You have your action sequence right in front of you.

Doesn’t a good story transport you effortlessly to its fictional realm? Can you see events and scenes happening right in front of your eyes? Do you get goosebumps or feel your heart soaring after reading the words on the page? Do you wonder how authors make that happen? The answer lies in creating the right mood or atmosphere for a story.

Let’s consider the following example to have a better understanding of how to create mood in a story:

Hesitatingly, Mike stepped into the hallway, its cavernous mouth threatening to swallow all semblance of happiness and hope. Silence filled Mike’s ears like water gushing into a void: not even a creak of a chair or the hum of any machinery to reveal his location and put him out of his misery. The only sound that thundered in his ears were the sounds of his heartbeat, each one echoing against his chest cavity and sending shudders through his body till he felt like his nerves had taken over and were making deep gashes on his skin with a sharp needle. The thudding against his chest began to grow in pace, and his heart was now threatening to get out of his body, to make an escape from the room. To keep his legs from following suit, he bent his knees and collapsed on to the ground. He knew it would be pointless; any escape was seemingly impossible.

Can you guess the mood of the story in the above example? Suspense? Horror? Let’s look at the obvious giveaways that make the example a horror genre:

• Feelings evoked in the character: not knowing where he is, feeling trapped, no way of escape. Mike’s loss of control over his body further aggravates his situation. 

• Setting: Where is the story taking place? Has the author provided any answers? If so, are they elaborate or are they frugal in nature? In a horror genre, the less one reveals, the more intense the atmosphere becomes. What do we know about the setting in the example? It’s a hallway. The entry looks like the mouth of a cave with no return. That’s all. We don’t know where, and we don’t know how Mike got there. 

• What sounds does Mike hear? Nothing. But he wishes for some sound for answers. Sensory words are very important to creating the mood. Sounds in a setting or their lack make the reader experience what the characters are experiencing. 

• Obvious word usage like cavernous, void, shudders, threatening, gashes, creak, thudding, collapsed, impossible, etc.

• Figures of speech is another technique that conveys the depth of feelings and emotion. Can you identify the metaphors, onomatopoeia, hyperbole, etc. in the example above? Silence gushes into your ears like water: now would that be a comfortable feeling? Thundering, thudding:  have you ever felt so scared that your heart was beating like a drum?  Can you see in the example how the scene is being drawn for you? Every description only increases the feeling of dread; there is no respite, no relief.

• Internal monologue is very helpful in ascertaining the dark cloud in a person’s mind. Since some scenes may have only one character, dialogue cannot be used. So, internal monologue comes very handy. Do you notice how Mike debates in his mind in the last line? Thoughts reveal a person’s true feelings or intent. Make your characters confess using internal monologue.

When you create mood or atmosphere for your story, first think of how you would feel being in that setting. List down the things that make you feel that way. Then, picture how your body would react to it. Pen them down using interesting word choices, sensory details and figures of speech. And, that’s how you create the right mood for your story. 

Pay close attention,

Read on carefully,

Understand the nuances carefully,

Apply the knowledge deliberately.

But, please, oh please!

Do not overuse the adverb callously!

An adverb can be defined as a word that modifies a verb, an adjective, another adverb, or even a whole sentence. Adverbs are used to intensify, amplify or turn down meaning. For example, literally, simply, absolutely, rapidly, swiftly, sort of, kind of, fast, almost, better, etc.  What we need to learn is to use adverbs cautiously: their misuse and overuse makes our writing cluttered! 

1. The most common misuse of an adverb is to reiterate obvious information.

Harry Potter laughed happily as the majestic Hogwarts castle rose from behind the clouds. He was absolutely determined to learn magic as a wizard. His thoughts were rudely interrupted by Hermione, who whispered quietly in his ears.

If Harry laughed, did it not denote his happiness?

Did determination not imply absolute resolve?

To interrupt someone is to act rudely, right? And to whisper is to speak softly!

The use of happily, absolutely, rudely and quietly is redundant in the given sentences. Adverbs have their place, but often we can improve our writing by pruning unnecessary adverbs. 

2. The next thing to remember is that weak verb-adverb combinations should be revised with stronger verbs.

‘Ron ran swiftly towards the Whomping Willow’ can become ‘Ron sprinted towards the Whomping Willow.’ 

‘Shining in her ball gown, Hermione came down the stairs effortlessly’  is better described as ‘Shining in her ball gown, Hermione glided downstairs.’  

3. Use adverbs to change a verb's, an adverb’s  or an adjective’s meaning to the reader. Some adverbs add stress: Instantly perceiving Dudley to be a bully, Hagrid decided to rescue Harry from his dismal living situation. Some adverbs paint a clearer picture: Hagrid was a reassuringly solid confidant. 

4. When it comes to adverbs, it’s all about balance. Here are some simple tricks to using/deleting an adverb:

• Remove an adverb if it does not change the meaning of a sentence. 

• If the verb or adjective works great without the adverb, remove it.

• Use the adverb if it adds valuable meaning to a verb, adjective, an adverb or the meaning of a sentence.

• Be wary of using very and really often: they are two of the most overused and misused adverbs.

American author Stephen King’s comparison of using adverbs to having dandelions in your lawn is  precise—one dandelion looks beautiful, but many are like weeds that can overtake the lawn. Using the right adverb is like embellishing your writing with a sparkling jewel, but too many and they can become annoying and distracting. 

Less is the new more! 

“We went to Disneyland last week, and it was super fun! My sister, her face all beaming, did a little happy dance when she met Cinderella, and a laugh riot ensued.  On the whole, the delectable desserts, whimsical rides and Disney princesses can make any kid happy.”

Oh, that’s wonderful news, but aren’t you tired of using coordinating conjunctions and commas all the time?  Why let your sentences ramble when thoughtful pauses can say so much more?  

We went to Disneyland last week; it was super fun!  My sister—her face all lit up—did a little happy dance when she met Cinderella; a laugh riot ensued. On the whole, Disneyland has everything a kid needs to be happy: delectable desserts, whimsical rides and Disney princesses. 

In this article, we are going to familiarise ourselves with the tricky quartet: semicolon (;), colon (:), em dash (—), and parenthesis (). See the difference these little superstars can make to your writing.

Semicolons

Which is the most powerful punctuation mark? The most obvious answer would be the full stop. But which comes second? Some would say commas because they are extensively used, but semicolons disagree. Like a comma, a semicolon tells a reader to pause, but a semicolon is a stronger punctuation mark than a comma. A semicolon (;) separates grammatically independent sentences that are closely related. 

Example: Amber always slept with the light on; she was terrified of the dark.

You can also use the semicolon to separate items in a list when some of those items already contain commas. For example, ‘I bought red, juicy strawberries, beautiful, ripe mangoes, and tasty bananas.’ 

The sentence is confusing; isn’t it? It’s tiring to figure out how many items were bought since there are a lot of commas involved. ‘I bought red, juicy strawberries; beautiful, ripe mangoes; and tasty bananas.’ See?  It is a lot better this way.

Dashes (em dashes)

The first thing to know when using dashes is not to overuse them. It will make your sentences difficult to follow. Also, do not confuse them with hyphens—they are shorter lines and are generally used to indicate connections between words (full-time, far-off, ice-cold etc.) Undoubtedly, em dashes are extremely useful. Let’s take a look at some ways to include dashes in your writing:

a) Em dashes can be used instead of parentheses (). This way, more focus is given to the information between the em dashes. Em dashes are preferable in formal writing; they are fancier than parentheses.  

Example:  Timmy (his face all grim) walked towards the principal’s office. Here, the information provided within the parenthesis is not getting enough attention; therefore, we can replace it with em dashes. Timmy —his face all grim—walked towards the principal’s office.

b) You can use em dashes to indicate sentence introductions and conclusions.

Example: Food, shelter, safe drinking water —for many people even the basic amenities are still a dream.

c) Em dashes can also be used to break up dialogue.

Example: “I—I’m scared; let’s go back,” Jack whispered in a quivering voice.

Parenthesis 

A parenthesis is a curvy punctuation mark used to set off information that isn’t crucial to the main topic, like a second-thought or a funny joke. When they come in pairs, they are called parentheses; you must have both an opening and a closing parenthesis. Whatever the information inside the parenthesis, it should not be grammatically fundamental to the sentence. Also, overuse of parentheses can be distracting to readers.

Let’s look at some examples:

a) To show acronyms: National Aeronautics and Space Administration (NASA).

b) To add extra information: The talent show will be held next week (on Tuesday).

c) To clarify preceding words: The bird sang in a high-pitched sound that is idiosyncratic (peculiar) to its species.

d) To enclose a comment (informal): Mary merrily made her way to the kitchen (I reckon it is a sugar-rush).

Colons

A colon is used to introduce phrases, lists and elaborations. It can also be used to introduce a quotation. Colons follow clauses that can exist on their own (independent clauses or complete sentences). 

Example: This book has everything I need: adventure, mystery, and comedy.  

Here’s an example of a colon introducing a single item: There is only one thing that can make me ecstatic:  ice cream. 

One of our previous blog posts— ‘The misunderstood Colon’— covers everything you need to know about colons. Check it out here.

We have come to the end of our article. So now do you know how to use your advanced punctuation marks? 

Do you sometimes feel that brilliant story ideas in your head fail to translate that well on paper? Do you think that somewhere along the path of writing a story, you stumble and falter so that the result is far from what you had imagined? Worry not, we’re here to help you. The first step is to understand what you’re doing wrong. Let’s look at some common story writing mistakes:

1. Unexciting openings:

It is best to avoid unoriginal story openers: Once upon a time, One day, There was a boy called, John lived in London, I woke up early morning etc. Readers are familiar with such usual starters. Avoid the obvious. Instead, begin with a catchy dialogue, a scene of surprise, a single sentence that captures the entire mood of the story etc. 

2. Dull details:

John ran over the ledge. The ledge was made my Mr Robert last summer. John wanted to catch the bus via the shortcut. “Hurry up, we are leaving!” bellowed the horn. 

Do we really need to know about the history of the ledge? No, right? If it is not included, it wouldn’t affect the story. Such superfluous details are best avoided to save time and let your story have only the necessary ingredients. Your readers don’t need to know each detail about the corners of a house or minute aspects of a character’s appearance. 

3. Rambling description: 

John, who was four years old, ran his fingers in and out of his hair, which had the colour of dark shade of orange, as he woke up puzzled and in a state of confusion.  

This is a long and winding version of a character’s description. But it can be made better:

Little John, aged four, brushed his ginger hair confusedly as he woke up.

The ideas remain the same, but the phrases are compressed to describe details without lag. This helps you use good vocabulary and save time (so that you can quickly move on to the main events in your story).

4. It is obvious, duh! 

I couldn’t wake up early since I watched a movie deep into the previous night, which forced my body to take more rest, and that is why I am gloomy today.

The sentence above can be made concise:  I stayed up late into the night for a movie yesterday.

Certain details are already understood and mentioning them will only drag the story. Your primary concern should be to reach the ‘conflict’ in your story. In other words, you don’t need to mention that trains run on rail tracks, the bird is flying in the sky, we need air to breathe etc. 

5. Pointless repetition:

It is true that repetition can be good in some cases; however, the trick is to know where it is good and where it is not. 

The forest was full of green, nothing but green.

“Be careful. You fall, we all fall!” Ellie screamed as she paddled the boat.

These instances are effective. On the other hand, look at the sentences given below:

James was ecstatic, elevated and exhilarated to open the present. (When one adjective can do the job, why use three?)

Agatha wanted to bake. Agatha did not have enough ingredients. Agatha started looking for money. (Yes, we know you’re talking about Agatha every time, so just use ‘she’ instead) 

Repetition can make or break your story. Done right, it can make ideas or images memorable. Meaningless repetition, however, can be annoying to the point that no one wants to read the story.

6. A crowded plot: 

Is there more than one problem or villain in your story? Do you spend an entire page describing the setting or the main character? If you nodded ‘yes’ to any of these, then you might have come across the need to rush the ending as well.

Jason stopped running from the stranger. He turned to an alley and saw the serious swamp monster. The ghosts loomed over the building in search of him. The valley of shadows was haunted by unimaginable horrors. Jason ran like the wind. He got to his home, locked the door, and pulled the blanket over him. He went to sleep.

Notice how the text keeps jumping from one problem to another. None of the problems are solved and there is no connection between the places Jason travels through. The lack of emotive reactions from both Jason and the evil beings is confusing as well. Solution? Follow this method: one story = one theme. This will help you in exams where you have to finish your story within a given time.  

7. An over-ambitious plot:

You are planning to forge a super story: more than four characters, a fantasy world full of problems, references that only you know, unsolved motives and unexplained happenings. It is wise to avoid such complications. Most probably, your reader will feel as if they have opened page 40 of an unread book: it will be utterly confusing. 

Aang could hardly bend the air when he set on the path to become the Avatar. Who would have thought soul-bending would become his ultimate power? Kushiro was eager to rule the Fire Kingdom after he had beaten his brothers with the help of Korra. The steel-bending powers of Reinhart woke up the same day…

The story above is linked to Avatar: The Last Airbender (the animated series).  If you’re confused by the details, the same will go for your readers: the plot elements are hard to understand. Not to mention that the sheer number of characters and events are hardly relatable. Too many events can be difficult to tie up or resolve under a given time limit. Chances for plot holes are substantial. Simple yet creative story ideas work best in exams. 

8. Bland ending:

This is the place where you can do your worst or best to the story. Apply solutions creatively: if you solve the conflict of the story logically, it is good; if you solve it with a twist, it is better and if you make your reader awestruck with suspense or comedy, it is the best. Your reader should not feel that you wanted to end the story as soon as possible and just move on. 

We hope that you keep an eye out for these errors when you write a story next time. Slowly but surely, the eight mistakes will fade away from your stories if you practise the solutions. 

Have you ever wondered why your sentences remain soulless even after adorning them with alluring adjectives? Adjectives are supposed to be game changers, right? Well, we don’t have anything against adjectives, but adjectives alone won’t improve the quality of your sentences. Don’t worry! Advanced verbs are here to save the day.  

Today, we are going to introduce you to a bunch of vivid verbs which you can use to make your writing stand out. So, before we begin, let’s refresh our memory. What are verbs? A verb is simply a word that expresses a physical action (sing, jump, walk etc.), a mental action (guess, consider, think etc.) or a state of being (to be, to exist, to appear etc.). 

How about we learn about these vibrant verbs through an example? Let’s read the story given below: 

The hooded figure slowly walked towards us. “Duncan, I am scared,” Lydia spoke in a faint voice. Her fingers were shivering as I took her hand in mine to calm her down. “Let’s run,” I told her. We ran down the hill without stopping. “I guess we are safe now,” I let out a sigh.

“Ahhh!” Lydia was crying out loud. A skeletal hand was holding her neck tightly. I looked at the stranger in disbelief; the stranger let out a scary laugh and said, “You can’t escape the wrath of my master. Wherever you go, I will follow.”

Now, let’s substitute the underlined words with some vivid verbs. Are you ready to see the upgraded version of the story? Here it is:

The hooded figure ambled towards us. “Duncan, I am scared,” Lydia croaked. Her fingers were quivering as I took her hand in mine to soothe her. “Let’s run,” I gasped. We sprinted down the hill without halting. “I presume we are safe now,” a weary sigh escaped me.

“Ahhh!” Lydia was wailing. A skeletal hand was throttling her. I gaped at the stranger; he cackled and said, “You can’t elude the wrath of my master. Wherever you flee, I will accompany.”

Impressive transformation, isn’t it? 

Bonus: here are some commonly used verbs and their better replacements — 

1. Walk – stroll, saunter, amble, wend one’s way, trudge, plod, hike, trek, strike, troop, patrol, roam etc.
2. Talk – lecture, orate, address, rant, chat, chatter, gossip, babble, prate etc.
3. Eat – consume, devour, ingest, bite, gobble, chew, feed, dine, nibble etc.
4. Cry – weep, sob, wail, bawl, lament, snivel, blubber, howl etc.
5. Smile – grin, beam, twinkle, grin from ear to ear, smirk etc.
6. Laugh – guffaw, chuckle, chortle, cackle, howl, roar, shriek etc.
7. Sleep – nap, doze, rest, drowse, trance, slumber, snooze etc.
8. Look – glance, gaze, stare, gape, peer, focus, peep, glimpse etc.

 We hope you found this article useful. Stay tuned for more.

Getting a child to practise creative writing can be a parent’s worst nightmare. After endless dodging by the child, many to and fro arguments between the parent and the child, often culminating with promises of reward to the child on completing his writing, the child finally sits for the dreary yet necessary exercise. 

The whole experience can be exhausting for the poor parent and uninspiring for the child. On top of that, the idea of practising writing, with the sole aim of scoring high in exam, under a ticking timer and the constant, watchful eye of the parent does not really get the creative juices flowing in the child. Shouldn't creativity be a ‘spontaneous overflow of powerful feelings,’ as Wordsworth once said?

That’s right. Writing should not feel like a task. The trick is to make it fun and educational at the same time. Here, we offer you five different and effective ways of making your child practise writing. Let’s get on with the first tip then.

1. Start a scrapbook: 

Imitation can be a stepping stone to awakening imagination in one. Scrapbooking a stock of handy quotes is a technique vouched for by budding writers. Encourage the child to copy out favourite quotes and fascinating descriptions from literary works. Writing out interesting text stimulates learning as well as creativity in the mind. Remember to ask the child to go through his collection (as a form of reading exercise) at the end of a week or fortnight.

2. Keep a diary or journal: 

Why not gift your child a beautiful diary and help him start on a new literary journey? Inspire the hidden writer in him to record special moments and events of the day. Diary writing can help the child develop unique and personal style of expression. Give your child space and freedom to write as and when he wishes. Starting first as some sporadic entries, diary writing should over a period become a daily exercise.

3. Scribbles and doodles: 

Sometimes writing from scratch can be daunting. To make writing exercise more exciting, take an already existing text and encourage the child to edit, improve or rewrite it. This text could be anything: a short story (many free stories are available on the web), a few paragraphs of a news article, or a work previously written by the child. If you want to create memorable moments with your child, you could write a short piece (story or description) and offer the child to evaluate and enhance it. A reversal of roles will draw the child’s interest and eagerness to re-write.

4. Letter and note writing:

Encourage the child to write letters (or mails) to grandparents, distant cousins and friends. Suggest that the child make cards for occasions like birthdays, Mother’s Day, Father’s Day etc. and enclose special messages for the recipient. With these activities, kids can learn how to communicate, socialise and, at the same time, practise writing skills.

5. Storytelling

Spinning a yarn is in the DNA of human beings. The first seeds of creative writing were implanted there. Nurture this inherent gift by making storytelling part of the day-to-day family discourse. From ‘What happened at school today?’ to ‘Why do you like your teacher?’, narration requires creativity, skill and precise vocabulary. When communicating with your child, ask him to describe the people he met, the places he visited and the feelings evoked in him by his experiences.  This exercise encourages children to be creative when describing the setting, characters, and the story as it unfolds. Ultimately, your child will become confident and less hesitant when he actually sits to write. 

So there you have it: some new ideas to help your child to get writing. Which one do you think will work for your child? 

“Little pig! Little pig! Let me in! Let me in!”  (Wolf)

 “No! No! No!  Not by the hairs on my chinny chin chin!” (Little pig)

“Then I'll huff and I'll puff and I'll blow your house down.” (Wolf)  

                                                                                                       — The Three Little Pigs (Fairy Tale)

True to his world, the unfortunate thing happened – the wolf blew the little pig’s house down and gobbled him up like a piece of candy. The fairy tale ‘The Three Little Pigs’, to this day, makes us despise the untrustworthy wolf. The narrator did an exceptional job by framing the wolf as the ultimate villain just by the magic of his narration. But it is unfair to jump to conclusions without knowing the real story, right? So let’s hear the wolf’s version of the story. 

 “I rang the bell on the stick house. Nobody answered. I called, “Mr Pig, Mr Pig, are you in?” He yelled back, “Go away wolf. You can’t come in. I’m shaving the hairs on my chinny chin chin.” I had just grabbed the doorknob when I felt another sneeze coming on. I huffed. And I snuffed. And I tried to cover my mouth, but I sneezed a great sneeze. And you’re not going to believe it, but this guy’s house fell down just like his brother’s.”  — The True Story of the 3 Little Pigs! By Jon Scieszka

Now that you have the story from the wolf’s point of view, it is really up to you to decide whether you should still hold him accountable or not. Powerful narration can influence the way we sympathise with different characters. It can make or break a hero and make us question our loyalty towards the protagonist. In case you haven’t noticed, this account of the wolf is more humorous and engaging. Who knew a change in perspective would bring about such a tremendous difference?  

CINDERELLA

Cinderella — the poor orphaned girl with a wicked stepmother and cunning step-sisters. Cindy toiled day and night, and by the time she finished all her chores, she was covered in cinders (hence the name Cinderella). We know all about the glass slipper, the stroke of midnight and the happily ever after. 

Well, brace yourself for some shocking revelations. The infamous stepmother is here to share her experience of living with Cindy, “OF COURSE you think Cinderella was the sweetest belle of the ball. You don't know the other side of the story. Well, let me tell you...”

“One day, a letter arrived, it was an invitation to the king's ball, and the prince would surely fall in love with one of my darlings. Then they would marry, live in a beautiful castle, and one day be king and queen of all the land! "Oh, Stepmother, I want to go too!" said Cindy. "Once upon a time, a girl and a Prince …” Then - just like that - Cindy lost her voice. Imagine it had to be from all that storytelling.    

Well, what could I do? I told Cindy she had to stay at home for her health. She cried, of course. Still, a ball was no place for a poorly girl. She needed rest.  Sometimes, it’s hard being a stepmother.”     

— An excerpt from Seriously, Cinderella Is SO Annoying! The Story of Cinderella As Told by the Wicked Stepmother by Trisha Speed Shaskan

See how a change in perspective can plant seeds of doubt in the reader’s mind and influence our thought process? How would other stories change if they were told from another perspective?  

Story from the point of view of an inanimate object:

 “It is a narrow mind which cannot look at a subject from various points of view.” ― George Eliot.

If asked to write a story based on the given topic — Going to the dentist— we are inclined to choose the dentist or the child visiting the dentist to recount the story. This time, we are going to do it differently. The dental chair is our narrator:

If you think that being a dental chair is boring, I hate to break it to you; it is the best job ever!  Who else has the luxury of having hundreds of hapless children holding on to them for their dear lives? I do! Out of all the little brats who visit me regularly, Tommy is my favourite because he is hilarious. Last week, as usual, little Tommy had an appointment with Mr John, the dentist. Halfway through the tooth extraction, Mr John went to use the restroom. “Don’t close your mouth Tommy; I will be right back,” said Mr John. Tommy, who was already traumatised by this whole experience, wasted no time and fled the scene. It took an entourage of nurses, doctors and Tommy’s parents to bring him back. I couldn’t control myself; I laughed my lungs out.

Oh, poor Tommy! It seems like Mr Dental Chair is enjoying himself. 

Are you tempted to write your version of a classic story, or any other story for that matter, from a unique point of view? Well, do it! It would be fun. We hope that we opened up a whole new world for you. How was the magic carpet ride?