HOW TO BE A GOOD STORY-WRITER
RAJA SHARMA































 TOC \o "1-3" \h \z \u How to be a good story writer?  PAGEREF _Toc238394273 \h 3
 HYPERLINK \l "_Toc238394274" Developing the story  PAGEREF _Toc238394274 \h 4
 HYPERLINK \l "_Toc238394275" Storytelling  PAGEREF _Toc238394275 \h 5
 HYPERLINK \l "_Toc238394276" Let's Begin  PAGEREF _Toc238394276 \h 5
 HYPERLINK \l "_Toc238394277" Story Structure  PAGEREF _Toc238394277 \h 6
 HYPERLINK \l "_Toc238394278" Main Character  PAGEREF _Toc238394278 \h 6
 HYPERLINK \l "_Toc238394279" Setting  PAGEREF _Toc238394279 \h 6
 HYPERLINK \l "_Toc238394280" Problem  PAGEREF _Toc238394280 \h 7
 HYPERLINK \l "_Toc238394281" Resolution  PAGEREF _Toc238394281 \h 7
 HYPERLINK \l "_Toc238394282" Clue:  PAGEREF _Toc238394282 \h 7
 HYPERLINK \l "_Toc238394283" Reminders  PAGEREF _Toc238394283 \h 7
 HYPERLINK \l "_Toc238394284" 1. First Step  PAGEREF _Toc238394284 \h 8
 HYPERLINK \l "_Toc238394285" 2. Write a Catchy First Paragraph  PAGEREF _Toc238394285 \h 8
 HYPERLINK \l "_Toc238394286" 3. Developing Characters  PAGEREF _Toc238394286 \h 9
 HYPERLINK \l "_Toc238394287" 4. Choose a Point of View  PAGEREF _Toc238394287 \h 10
 HYPERLINK \l "_Toc238394288" 5. Write Meaningful Dialogue  PAGEREF _Toc238394288 \h 11
 HYPERLINK \l "_Toc238394289" 6. Use Setting and Context  PAGEREF _Toc238394289 \h 13
 HYPERLINK \l "_Toc238394290" 7. Set up the Plot  PAGEREF _Toc238394290 \h 14
 HYPERLINK \l "_Toc238394291" 8. Create Conflict and Tension  PAGEREF _Toc238394291 \h 15
 HYPERLINK \l "_Toc238394292" 9. Build to a Crisis or Climax  PAGEREF _Toc238394292 \h 15
 HYPERLINK \l "_Toc238394293" 10. Find a Resolution  PAGEREF _Toc238394293 \h 16
 HYPERLINK \l "_Toc238394294" East and West (A True Story) by Rajasir  PAGEREF _Toc238394294 \h 17
 HYPERLINK \l "_Toc238394295" The Buddha in Me  PAGEREF _Toc238394295 \h 22
 HYPERLINK \l "_Toc238394296" copyright 11-25-2008  PAGEREF _Toc238394296 \h 22
 HYPERLINK \l "_Toc238394297" Parvati (A True Story of a Prostitute) by Raja Sharma copyright 09-10-2008 Age Rating: 18 to 127  PAGEREF _Toc238394297 \h 30
 HYPERLINK \l "_Toc238394298" The Most Painful Sentence by Raja Sharma copyright 08-26-2008 Age Rating: 13 to 127  PAGEREF _Toc238394298 \h 40







How to be a good story writer?
By Raja sir
Values are given words and words are shared with the readers who try to get nearer to the values conveyed by the writer. Though I have taught Literature for more than two decades, I had never given importance to the fact how much others can benefit from my experience. Then came a prophet, Mr. Walter L Jones, and everything changed for me.

A huge majority of the writers are often trapped by an illusion that structure is their ultimate goal while writing a story. Structure is a kind of God to them. Undoubtedly, structure is an inevitably important part of your story but it might as well destroy story if excessive attention is paid to it.

There is no dearth of hit movies and novels in the markets flooded with new releases. They seem to be fulfilling all the requirements of story but I feel that they seem to be contrived, uninspired and lifeless and one can feel that the writer has moved with a plan.

These kinds of writers are merely mechanics who assemble the different parts. Some linguists call them Story Mechanics. They plan the structure, syntax, length and so on and according to the prescriptive requirements contrive a story. It looks like a fancy paint job. Many of the Great Masters like D.H.Lawrence, Thomas Hardy, Stevenson, Dickens, Rudyard Kipling had perhaps never heard about the blueprints, plan, sentence arrangement because they were guided by the values they had in mind. They were the writers who could be called Story Weavers. Such writers begin with subjects or concepts they are passionate about and the structure draws its form from the material. Their characters are people before they become characters. In their stories events take place first and then they become a plot. They keep values before theme and a genre is secondary to a world they develop.