Your job as writer is to torture your. Put obstacles in his path. Make life difficult for him, make him work for everything he wants.
The basics first: “He/she said” is the basic modifier. Dialogue tells us what is said, attribution tags tell us who said it and modifiers tell us how it was said. These are the aspects we deal with here, adverbs (he said happily) are a matter for concern in a different article.
Trimming the cast every now and then will help clean up your story. This section explains how to check your cast and trim the characters who are not adding to the story.
Characterization of character gives him fullness, substance and individuality.
Immersive writing: here are the essential ingredients to immersive writing, creating the fictional dream that turns a story into a page turner.
the secrets to conveying emotion in a natural way in literature
In storytelling, background (cause) leads todevelopment (effect) and vice versa. Stimulus and response are a form of cause and effect.
To make a scene vivid, to make it truly come to life, there needs to be sensory information. Senses transform words into three-dimensional worlds. The basic human senses are: seeing, hearing, touch, smell and taste.
Alternative strong verbs indicating to go walking.
Writing dialogue laughs and descriptive emotional expressions ranging from smiles to laughing
Getting the reader to care about your characters requires evoking the right emotion, empathy. This should not be confused with sympathy.
Comic Relief: Writing is all about balance. You need to bring the tension up and release it with relaxation or humour. Give the reader a break so he can keep reading without forcing a break by putting the book down.
Narration sketches the portrait of your character and his development. Dialogue humanizes and personifies the character. Characterization through dialogue gives him fullness, substance and individuality.
Surface problems reflect the actual story-worthy problem but are insufficient to sustain an entire story. Any author should have a firm understanding of the main problem as it helps to provide yourwith initial surface problems to kick of the action.
It’s easy to forget how natural and common violence truly is. People use violence, simply because it works. Here’s all you need to know to writer a fighter
The archetype is the foundation of a character. He is the groundwork onto which the writer builds layers of personality.
The hero and heroine archetypes help writers lay the foundation for characters, showing how they think, feel and what drives them.
Threshold guardians keep unworthy people from going through doorways and gates. They can be against the hero, indifferent to the hero or even allies but they will still always serve their purpose. No one goes onto the next stage before proven to be worthy. They can be thought of as bouncers, bodyguards or doorkeepers and represent ordinary obstacles people encounter in life such as prejudice, bad luck and opposition.
The mentor is the one who aids or trains the hero. They teach the hero, protect him and give him useful (often essential) gifts. The word comes from The Odyssey, in which a character named Mentor guides the hero. The mentor relationship often resembles that of a parent-child relationship. They are what the hero might become (and transcend) if he continued on the road of trails. They are the higher self, the wiser and nobler part of us.
The word “Hero” is Greek and it means “to protect and serve”. It is someone who would sacrifice his own needs to help others. In psychology terms, according to Freud, the individual consists of three layers. The it, the ego and the superego. The it represents desires and doesn’t care about right or wrong. The superego doesn’t care about anything other than right or wrong. The ego is left in the middle. It has the it telling it what it wants and the superego telling it what it shouldn’t want and the ego must mediate between the two.