Become a better writer

Charles Dube 

THE past two weeks have been a guide on how to become a better writer through reading. 

You do not run short of ideas if you are well read as you have a wide selection of writing options. Limited writing options lead to restricted language fluency. 

Through wide reading you would have come across many suggestions for better writing like basing your writing in settings you know.

We have touched on this before, where it has been said that the lovely thing about familiar settings is that they are just that — familiar. You are surrounded by them — where you live, where you play, where you go to school. 

In a nutshell you already have all the details you need. However, never tell the reader too much as this might bore the reader. Also, it will stop the reader using their own experience, seeing their own setting in their head.

Allow the reader to use their own imagination when reading your piece of writing. 

When you write try to focus on what gets the readers “hooked” so they cannot bear to put the story down. 

When learners choose books for reading from the library or any other source they should choose those that are interesting. 

By reading the summation or blurb at the back of the book they can tell that the book is quite interesting. That book will definitely be put to good use.

The most important and difficult trick in storytelling is to describe what is happening right now in a way that sets up what happens next. 

Research shows that a top tip to get ideas for your story with a familiar setting is to use your own memories — about your happiest time or saddest time, or funniest time, for instance. 

To become a writer of stories with familiar settings is to read stories with familiar settings.

Remember that stories are structured to engage the reader through four basic stages. The first is exposition where setting, characters, and situation are introduced. 

What effect does this have? This gives the reader enough information to engage them in the story, and makes them wonder how it will develop. 

Secondly, is the conflict where main character(s) encounter problem they must overcome. 

This makes the reader want to find out how characters tackle difficult situations.

Then there is the climax, the pinnacle of the story whereby climax reaches worst point; it is not just a problem now — it is really a serious problem. This leaves the reader unable to work out how main character(s) can ever solve a problem. 

In the final stage we have the resolution where the conflict is resolved — happily or sadly. This leaves the reader feeling relieved and satisfied that the tension of the story has come to an end.

Better writers use these key structures and plan their stories thinking about the effect they want each stage to have on the reader. 

Some keep their readers guessing — exactly how will the hero defeat the villain, for example. 

These ideas can only apply where they are relevant but there is nothing wrong with learning various approaches to writing the different genres. Try to understand these questions on effect as they always feature in examinations.

Our theme still goes on: Grabbing the reader’s interest. Writers make choices about how much information to reveal to the reader, and the ways in which they will reveal it. 

Have you come across or thought about these in your reading to use later in your own work? 

For example, before you start writing you need to decide what effect you want your opening of the story to have on the reader. 

Decide how much information you will reveal about the characters, the setting and the action and note down some noun phrases you could use to help the reader picture the setting of your story.

You can ask the following question: What do I want my reader to know about the setting for the opening of my story? 

The setting might not be the most interesting or attention-grabbing feature of a story opening. 

Writers might give the bare minimum of information to paint a picture of the setting, leaving the reader to concentrate on the characters or the action.

How do you create a character in your story? Choose a name, for example, James, Jake, Joe. Would a nickname sound more interesting? For instance, Jimmy, Jo. 

Describe one or two details so the reader can “see” your character. (For example, freckled face, blue jeans, unkempt hair). How is your character feeling? (angry, lonely, sad, excited, happy, mean, jealous, brave, calm, silly, tiered, hungry). Think about how your character feels. What would they say or do?

Example of noun building: Who is your character? — a boy called Peter. Add in a description — a tall, scruffy boy called Peter. What is your character doing? —  a tall, scruffy boy called Peter dashed. 

Where is your character? — a tall, scruffy boy called Peter dashed down the road. 

Writing on different genres can be improved in a number of ways, but, take note that there are common ways they share as well.

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