Learn2Write

What makes you remember a person that you encountered? It's mostly the way they talk and express themselves, along with the unspoken signals (communication without words), that stick in your memory. Dialogue is your secret weapon to make them unforgettable. Likewise, what makes you connect to a particular story or character—yes, it’s the way the characters communicate through dialogue.

In this article, let’s look at tips to create interesting dialogue for your characters and, also, how to use dialogue to create a particular effect in a story.

1. Eavesdrop to create real-time dialogue:

Ever caught a bit of conversation while waiting in line at the ice cream truck or ticket counter? That's pure dialogue gold! Listen to how people talk, the jokes they crack, how fear shows in their shaky voices and the secrets they carefully reveal (in simple terms, how they express themselves). Tuning into these conversations helps you see the many ways people express themselves, making your understanding of communication richer. This will help you create characters who speak like real people.

2. Mix and match to move the story forward, set the tone and create atmosphere:

Consider mixing and matching personalities in your story.

Let’s imagine you have a friend who's a comic relief (like Ron from the Harry Potter series) and another who's wise and mysterious (like Elsa from Frozen). Let’s check an example of blending different traits:

Ron suggested, "Oi, Elsa! What if we plan a surprise treasure hunt in the enchanted forest? It sounds exciting, with clues hidden in ancient trees and magical creatures leading the way!"

Elsa affirmed, "Ron, that's a delightful idea. Let's ensure each clue echoes the forest's wisdom, and we'll let the magic guide us on this enchanting journey. The trees will share their secrets with those who seek them."

Ron continued, "But, you know, we've got to be careful. Enchanted forests can be a bit tricky, and who knows what kind of creatures we might run into. Wouldn't want to end up in a mess, now, would we?"

Here, Ron's energetic proposal introduces the concept of a surprise treasure hunt with a hint of caution, setting the stage for a true adventure, while Elsa's calm response suggests a deeper connection to the forest and hints at a mystical quest. Ron's tone gives the hint of a thrilling treasure hunt ahead while Elsa’s tone inserts a mystery to the forest setting.

3. The power of pauses:

Just like the words mean a lot in a dialogue, pauses and unsaid words too can mean a lot. So, use them wisely! A well-timed pause can be as powerful as a superhero's punch!

Ron grinned, his eyes sparkling with mischief, "And imagine... [Pause] the look on everyone's faces when they discover that we found the hidden treasure!"

Elsa smiled but commented, “I actually wouldn’t want that. I…I’d rather keep it a secret.”

Like pauses, most actions can speak louder than words in your story. Imagine two friends’ tummies bumping after a victorious game. Let your characters wink, shrug or twirl with joy to add a burst of energy to your dialogue.

5. Spice it up with slang:

Just like a secret code that only you and your friends understand, create your characters' own language. It could be a special catchphrase, a goofy word, or even a unique way of saying 'hello.' This adds flavour to your story, making it uniquely yours.

Eg: Ron, being his typical goofy self, would say "Blimey beans!" whenever he is excited about something or simply wants to swear. Meanwhile, Elsa could exclaim "frostalicious" when she finds something magical. By repeating these dialogues and expressing the way they say these catch phrases, the characters and their words stick with us.

6. Sneaky dialogue to create suspense:

To move the story forward in an engaging manner, you need to create suspense or show an element of foreshadowing. This can be created using unanswered questions, contrasting emotions and hinting at character reactions. Consider these suggestions:

Ron asked surprised, "Why wouldn’t you want everyone to know? What aren't you telling me?"

Elsa replied sternly, “Have you ever wondered why the treasure is kept a secret for so long? There should be a reason, right?

In short, try to get inspired by existing characters and imagine them with different names in your stories. Think about their personalities and create dialogues using those traits. It adds a fun twist to your own unique tale. And there you have it. You now know how to let your characters talk, laugh and surprise each other.

In conclusion, no one needs a guidebook to make their characters' words enchanting. By eavesdropping on real conversations, mixing and matching personalities and adding a splash of your secret language, you're all set to create dialogues that make your stories come alive. Also, don't forget the power of pauses! So, are you ready to try writing a short dialogue between two characters? What would they be talking about? How would their words show their personalities? Experiment and let your story shine through your character’s voices!

We're in the new year, and let's be real—some resolutions might have done a little disappearing act by now. But hey, no judgment here! Let’s talk about one kind of resolution to pursue that is more forgiving and way more exciting –mind mapping! It's not about setting hard rules; it's about exploring your thoughts and ideas in a free-spirited way. Imagine your brain throwing a colourful party, and every idea is invited! Isn’t it a cool way to keep your writing (or any daily activity) fresh and exciting? So, instead of feeling all stuck with resolutions, let's try something that feels like an adventure!

Let’s check out how we can use mind mapping to tell the story of Aladdin through the eyes of the Genie from the lamp.

Step 1: Ideas

Begin with a simple example: set aside dedicated time to map out the key elements of your story. Start with the core theme or concept in the centre. Let's say your idea is a mysterious island. Branch out with subtopics like unique creatures with different personalities, hidden flashbacks and backgrounds, or even the challenges your characters will face.

Imagine our mind map titled "Genie's Twist on Aladdin." Subtopics burst forth like "Genie's Comedy Show During Wishes" and "Genie's Coffee Breaks Inside the Lamp." These quirky ideas form the foundation for a unique Genie-centric adventure.

As you map, you'll find that connections emerge locally, helping you identify potential plot holes, develop multi-dimensional characters, and ensure that the rules of your fantastical world remain consistent.

Step 2: Characters.

Now, let's breathe life into your characters. Till now the genie was a background character. You could bring him as the main character by using branches to showcase his quirks, like a secret love for baking magical cookies or even his passion for conveying jokes. Likewise, create branches for each character, jotting down their personalities, background and aspirations from the eye of the genie.

Step 3: Plot Twists and Turns

Time to add some spice! Extend branches to outline the major plot points. What challenges will the characters face, and how will they grow? Think of a reason why the genie chooses to follow Aladdin and not Jafar. What mental turmoil would the genie face as he strives to stay true to his conscience?

Step 4: Setting the Scene

Your story needs a backdrop as vivid as the characters. Create branches for different settings, describing the sights, sounds and smells. How would you visualise the cave (as shimmering as liquid gold, contrast the space within the lamp as compared to the Agrabah marketplace (murmuring melodies/ dazzling costumes/ intricate patterns etc.).

Step 5: Tying it Together

As your mind map blossoms, you'll notice connections forming naturally. Genie's love for stand-up comedy ties into Aladdin's wishes, injecting humour into each magical moment. His desire for freedom interlaces with Jasmine's yearning for independence. Thus, your whole story can be harmonised with their shared dreams and aspirations.

Step 6: Translating to Words

With your mind map as the guiding star, start translating your ideas into words. Each branch becomes a chapter, and the connections between them ensure a fluid narrative.

There you go. You now have the classic from a different perspective. Likewise, how many stories can you retell from different perspectives? Could you try telling the story of Cinderella through the eyes of the stepmother or even from the lost slipper’s perspective?

Unlike resolutions that sometimes feel like a grumpy teacher, mind mapping is your friend in need. It's flexible, fun and all about embracing the journey, not just reaching the destination. Plus, it's way more forgiving if you decide to change things up! Thus, with mind mapping let there be no limit to your creative escapades this New Year.

Hello there! Welcome to the fascinating world of stories. Today, we'll learn about an incredible writing method called flashback, which can add a lot of depth and essence to your story. 

Have you ever come across a movie or a book that takes you back in time to show you an event that occurred in the past? That's a flashback. It's a technique of telling a story that transports the reader or viewer to a specific moment or event in time. But how can you effectively include a flashback scene without causing confusion for your readers? This blog has all the answers you seek.

Positioning Flashback Scenes in your Story

The key is to position the flashback after a few scenes in your story's present time. Once the flashback is over, your readers will be able to recognise where the present-time narration left off. Consider it like a movie that alternates between the past and the present. It's simple to follow because the present-day scenes serve as anchors, reminding us where we are in the story.

For example, in her Harry Potter series, J.K. Rowling employs flashbacks to reveal important information about the characters' backstories. We see a flashback to Snape's childhood in the fifth book, ‘Harry Potter and the Order of the Phoenix,’ which helps to explain his intentions and actions. The author informs the reader when the flashback begins and ends by inserting it after a few scenes in the present-day story.  This is just the tip of the iceberg; let's dive in and learn more about how to use this technique to craft a memorable story!

The Trigger

The incident or circumstance that leads to the flashback is referred to as a trigger. It can be compared to a key that opens the door to the past. The trigger can be a smell, a sound, a sight or a feeling. Anything that reminds the character of a past incident can set off a flashback.

Examples: a) The protagonist witnesses an accident, which immediately triggers horrible memories within the character, and the hero is transported to his past, where he may have been involved in a terrible accident and may have suffered the loss of loved ones.

b) When the main character hears a song on the radio, which she used to listen to with her best friend, it reminds her of their lost friendship as well as the happy times they shared.

Understanding Your Characters' Past Traumas and Fears

Imagine reading a book about a valiant soldier who appears to be invincible in the face of danger. However, the author abruptly transports you to a memory that alters everything. You discover that the soldier was just a child when his country was invaded and plundered by the enemy army. This moving flashback scene explains why the soldier is so brave and committed to protecting his country. The author's exploration of this memory gives the character depth and complexity, making the story more exciting and captivating. So, if you're writing a story with a flashback scene, make sure to vividly describe why this memory is so important to your character and how it has profoundly affected their life.

Bringing Characters Back to the Present Using Sensory Triggers

Let's imagine a young girl lost in a daydream about the past, reliving a happy memory of playing with her beloved pet dog in their garden. Suddenly, a loud noise startles her back to reality— the thunder! Alternatively, her mother's voice calling her for dinner might bring her back to the present. As an author, you can use these sensory triggers to snap your character out of the reverie and back to the present, keeping the story moving forward. While flashbacks are an excellent way to tell a story, it's equally important to ground your readers in the present. So, whenever you include a flashback scene, remember to bring your character back to the present with a sensory trigger that engages your readers and keeps the story flowing.

Flashback Method in Children's Books and Movies

One well-known example of a children's movie that uses flashbacks is Pixar's ‘Up,’ which follows an elderly man named Carl on a journey to fulfil his lifelong dream of travelling to South America. The movie starts with a flashback to Carl's childhood, when he met and fell in love with his wife, Ellie. This sequence establishes the story's emotional core and explains why Carl is so motivated to realise their shared dream. Another example is ‘The Lion King,’ in which a young Simba recollects his father's teachings, which he later utilises to become the king he was destined to be. Shel Silverstein's ‘The Giving Tree’ is another children's book which applies flashbacks to tell the tale.

Now it's your turn to write a flashback story! Choose an interesting event from your own life or imagine a character and a scenario that piques your interest, and let your imagination run wild.

Good luck with your writing!

Of all the genres of writing in any language, the most easily recognisable and widely used is perhaps the short story. A person’s creativity can be expressed through the various pathways it provides: dialogues, descriptions, interesting characterisations, exciting narration, action scenes, etc.    

From an examination point of view, it is easy, however, to confuse a short story with its cousin, say a narration of an event or a recount. They may contain similar elements. But, while a short story may have all the elements of a recount, the vice versa is not necessarily true. This is where many pupils lose marks. They begin in an interesting manner and have a memorable ending. But the actual telling of the story doesn’t happen well. They miss the plot (pun intended).

A plot is a sequence of events that occurs from the beginning to the end of a story. It tells how the story progresses. It makes up the story arc. In other words, a plot is the story in essence.

There are six elements to any kind of plot:

1. Introduction or Exposition:

The beginning or the exposition is the introduction to the story. It is very important to have this in the story because you will be letting the readers know who the main characters are and where the story is happening. Without it, the reader will be fumbling in the dark, unable to make head or tail of the story.

2.  Conflict or Problem:

Without a problem to solve, what are the characters doing in the story? If they are just going about their business in their lives, then that is no longer a short story. The story is a narration of some events that happened. There needs to be a problem that the characters overcome to be able to go about their regular lives. The conflict is a very important element of a story as that is the reason the rest of the story exists.

Many of you may be confusing a short story with a recollection of a particular time. For example, a fun time at the beach is a recount of a memorable family holiday and not necessarily a short story unless there is a problem that gets solved at the end. So, remember that the next time you write a story!

 3. Rising Action:

The rising actions of a story are the events that complicate the problem or arise due to it. Once the conflict has been introduced, there will be events that ensue thereafter and the characters will get busy trying to solve it. Before they come to the high point or the climax of the story, there will be progressive complications that they need to wade through. The rising action is literally everything that happens before the climax.

4. Climax or High Point:

The climax or the point of suspense of a story is the point where the efforts of the main characters’ endeavour bear fruit. This is the peak of the story where the characters will either solve the problem or give up finding the solution. (Remember, not all conflicts of stories have solutions) This is the highest point of suspense in the story which will keep the readers at the edge of their seats thinking, ‘Will they or won’t they.’ The characters’ actions and choices drive the outcome of the story. You must use every ounce of creativity here to create the necessary suspense.

 5. Falling Action:

Once the problem has been dealt with, the tension in the story will begin to loosen. Things will begin to go back to being what they were. Temperatures will fall and the various questions that arose during the course of the story would have been answered. At this point, the loose ends will be tied. This is the best time to have a look through your story one last time and provide links and tie-ups with parts that didn’t fit anywhere.

6. Denouement or Conclusion:

This is the concluding part of the story. The ‘normal’ needs to be re-established at this point. However, this new ‘normal’ will also include the experiences that your characters went through and the permanent changes that took place to the setting of the story. It will be the ‘new normal.’ It is also an emotional wrapping up by the readers after having known your characters.

But it is also important to keep in mind that the conclusion of a story is not necessarily always happy or satisfactory. Some stories end in tragedy and some stories do not provide a solution to the conflict. In such cases, the readers need to accept the way things are, because, after all, life isn’t always hunky-dory, is it?

You must remember to create a convincing conflict or a problem that gets a believable solution at the end. Even if it is a fantasy story with dragons or talking objects, the ending should be related to the original conflict. It must answer the problem that the story began with. 

A story will most definitely have a protagonist or a hero. We have discussed how to characterise one in an earlier essay. He/she drives the plot and moves the story forward. But a good story writer must not make things easy for the hero. Creativity and flair for storytelling lies in making things challenging so that the conclusion, when reached, feels earned and deserved.

The harder the exam, the sweeter the reward feels, doesn’t it? These challenges are often in the form of villains or antagonists that are introduced to keep things interesting. One would imagine that the main motive of a majority of these malcontents is merely to be an impediment in the lives of our immaculate heroes. But it is a bit deeper than that.

An important question arises here: why are the villains doing what they are doing? This usually forms the ‘falling action’ or the ‘resolution’ part of the story mountain. The reader here gets all the answers that had come up during the course of the story, and receiving the needed answers provides a catharsis or a sense of relief to them. Another question forms an equally compelling part of the story: how do you go about portraying a villain? In simple words, how do you know a villain is a villain?

1.    An obvious villainous look

Some authors provide physical attributes to their antagonists that leave no doubt in the readers’ minds that they will be actively involved in ensuring the lead character fails in his or her quest. Severus Snape’s greasy hair, pale sallow skin and cold dead eyes; Freddy Krueger’s burnt skin and knife-like nails; Captain Hook’s, well, hook instead of a hand. All these fictional villains seem to have an obvious physical appearance that makes it very clear that they will play the part of an antagonist in their stories. Writers use such physical descriptions of their villains to make a very solid stand that they are the main antagonists in the stories. They even look evil!

Think of interesting and creative ways to portray them in your writing. How evil can you make your villain look in your story? Why not have a competition among your classmates on who can create the most evil-looking villain ever?

2.    Not so obvious

You and I probably resemble the next two people walking by on a street, coat and scarf, a bag in hand, walking hurriedly with a purpose, to get somewhere on time, preoccupied minds, always thinking of the next mundane thing. Among these nondescript populous may lie a highly malignant, motivated and malicious mind who is dead set on only one thing – causing chaos somewhere or on someone. The author will probably describe them as silent and unassuming. No one would be able to guess what is going on in their minds, but these are the dangerous ones to look out for.

Such characters cause the maximum damage because their innocent and regular physical looks encourage others to let their guard down. And that is when they strike. In fact, such revelations are used as a twist in a tale. How would you go about describing such a person? It is tricky, isn’t it?

Harry was glad Paul was there every step of the way while he strived for the top position in the School Council. It was Paul’s idea that Harry stand the election.

Without him, I wouldn’t have gotten even halfway up, thought Harry. I am so glad he is loyal to me. One needs a friend like that.

It was D-day and the final results were going to be announced. The entire school assembled in the hall to hear who had won. Harry crossed his fingers and smiled weakly at Paul who, from across the room, gave him a thumbs-up. And slowly, while Harry watched him, he turned his thumb upside down. His eyes turned menacing as the corners of his mouth lifted into an evil smile and mouthed the words “You’re dead.”

Harry couldn’t take his eyes off him. He was confused. What did Paul mean? And that look! He had never seen that look on him before. Then it hit him. The election. Paul played him. He was not only going to lose. He was going to be humiliated. It was too late now.

In the above extract, the character Paul isn’t described as having any villainous features. He appears to be perfectly regular and a good friend. Only in the end, the reader realises that he was the villain.

Another question that came up earlier was why a villain does what he/she does. Have you ever wondered sometimes why in certain stories an antagonist holds our attention more than the hero of the story? While a hero is easy to draw, their main traits being intelligence, valour, honour and possessing an overall drive of an altruistic need to do good in general, the main reason behind a villain’s villainy varies. That is why they are sometimes more interesting to analyse than straightforward heroes who will always do what is good for everyone. It is a bit ironic that while we want our heroes to be predictable do-gooders, it is actually the antagonist who catches our attention far more keenly.

We can break down such antagonists into two kinds:

3.    Has a motive

Sometimes a character turns villainous because of a grudge they might hold against somebody. Maybe in the past, they felt they were wronged, and that is why they think they are meting out justice by harming others.

I have to, thought Oscar, as he sat at his desk, unconsciously flipping the pages of his maths book. The insult was more than I could take. Jimmy thinks that just because he is popular and helps everyone in their studies, he can insult me like that.

“How ‘bout you, Oscar?” the teacher’s voice painfully pierced his stream of thought.

“Huh?” Oscar looked up.

“Have you done your homework?”

“Yes. Finished…. all the exercises.”

Oscar didn’t hear what the teacher’s response was. He was already lost in his thoughts again, plotting revenge on Jimmy.

Straight motive. Straight dialogues. Straight conflict in the plot. There is no doubt about what the villain wants and what he wants to do. We get to know very well the motive that is driving him.

4.    Has no real motive

And sometimes an antagonist has no apparent motive.

It is just who they are. In the course of such a story, the hero and other characters will leave no stone unturned to find out why someone is doing such horrible things, causing much trouble to not just one person the hero but to everyone in general. Then they learn that there is no one reason behind someone’s misdeeds. It is just who they are. If you are a Hollywood superhero universe fan, you will recall that Alfred from ‘The Dark Knight’ says of the Joker, “Some men just want to watch the world burn.” They are not swayed by any greed or avarice; they aren’t looking for anything in return. They just rejoice in chaos. How do you deal with such a character? How do you appease one? What kind of negotiation or compromise do you come up with when the villain doesn’t want anything from you?

Closer to home, our very own Shakespeare created such a character in Iago in ‘Othello’. Iago’s villainy knew no bounds nor did his motivation, a source. A very prominent literary figure once said that most of the dialogues by this character Iago were just ‘motive hunting of motiveless malignity.’ Apparently, Iago himself didn’t know why he did all those terrible things.

What kind of a story would you write to have such a villain in it? More importantly, how will you describe such a character in your story? The traits of such an antagonist cannot be summed up by just an action or two. One would need the course of an entire story to develop and show the destructive acts of such a person. In fact, when an author creates such a character, they become the main lead of the story and the good guys take a back seat. The story becomes about them.

Now, would you like to write a story with a villain as your main character?

Part 6: Looking out of a car window while travelling