[Writing] How to write a story

Credit to Kaptain J for this


Theme

One
very important element in story-telling is to present a theme that will
reach the readers on a personal level. Themes have the power to change
how people live their lives. However, do not directly state the theme.
Hide it well within the story, so that it's something the reader
eventually finds out on their own.

Plot

The
plot of the story, most of the time, includes conflict of some sort.
And, most of the time, the protagonist is the one most affected by this
conflict. The conflict can be with another character, like a damsel in
distress (Mario, Zelda, etc.), or a family member (Mother 3); It could
be about what is going on with the world around the protagonist, like a
country run by a corrupt leader (Fire Emblem); Or it could be a conflict
within the protagonist, like feelings, a split personality, or a demon
sealed within.

The protagonist should win in the long run, but
also lose along the way. In order to fiddle with the reader's emotions,
make disaster strike for the protagonist, such as the death of a loved
one. The theme of the story is often portrayed by this element, since
the protagonist often learns from it. However, watch out for clichés.

After
the disaster, make the rest of the story more and more exciting as it
reaches the climax. After that, lessen the tension, as you present the
resolution. This should be the point in the story where everything is
resolved, and, as they say in fairy tales, "everyone lived happily ever
after."

Character Development

Before
you begin writing the story itself, you should make sure you have your
characters down right. If you don't, then you, most likely, will have to
do a LOT of editing.

First of all, make sure your protagonist is
someone the reader feels for. At the very least, make them likable. If
the reader isn't interested in the protagonist, they will probably stop
there. However, NEVER make the protagonist Mr. Perfect! If they're
perfect, the reader will almost never find them interesting. So make
sure they have at least one flaw.

Next, take good care of the
support characters. Make sure they're likable and interesting, for
starters. If they are completely and utterly uninteresting, the reader
will think that they have no point in being included in the story. Many
good stories include a love interest that the reader could even fall
for. Similarly, many stories include a character that the readers
despise. It's this kind of character development that keeps the readers
reading.

Last, but not least, make sure you have a well-developed
antagonist. Give the protagonist a reason to be entangled into the
story's conflict. The antagonist should be on the opposing end of the
protagonist. For example, the protagonist has a loved one killed. The
antagonist could be the one who killed them. Of course, you should try
avoiding cliches. Make the antagonist your own. Give the antagonist a
motive. Maybe they have a loved one who was killed, so they seek
revenge, by any means necessary. Or, maybe they are merely following
orders. Try to avoid the old clichés of ruling the world or gaining the
ultimate power, though. However, if you do use a cliché, make sure you
execute it well, so it doesn't seem too much like what has already been
done.

The Story's Structure

All
stories need a good beginning, middle, and end. Think of it as an
inverted check mark. The beginning is the set-up to the story. This part
usually introduces the protagonist, and often, where you jump right
into the action. The middle arises after the first crisis. During the
middle, you should increase the tension more and more, as you approach
the climax. And, in the end, you should resolve everything, resulting in
the tension going back to its starting point.

Points-Of-View

Think about what point-of-view you want to be writing in.

First-Person

If
you are telling the story, and you only use the pronoun "I," your story
is in first-person. This is usually what you use for school essays, in
which you recall a past event in your life.

Third-Person

If
you tell the story as if it's all about other people, and you use other
pronouns, such as "he," "she," "they," or "it," your story is in
third-person. This is the most widely used form.


Third-Person Omniscient

If
you tell the story as if you were a god, narrating for more than one
character, as if you knew everything that happens and everything the
characters are thinking, your story would be Third-Person Omniscient.
This is used mostly for epic stories, such as Lord of the Rings.

Second-Person

Rarely,
but not never, has second-person been done. This would be where the
protagonists are referred to by a secondary narration, and uses the
pronoun "you." An example of this would be a story in which a narrator
is telling you what YOU are doing, like "you give your reasoning, and
you wait for an answer."

Of course, you should probably go with third-person...

If
you chose third-person, you should tell the story through the eyes of
one character. This is usually the protagonist. If you want to, flip
over to another character, and tell something through the eyes of them.

The Story's Setting

Make
sure that the story is set in a time and place that the reader would be
interested in. Your story could take place in the far-off future, on
other planets. Or, you could create your own universe, where the sky's
the limit. There are many different settings to choose from. Just make
sure you know your audience first.

Style and Tone of the Language

Write the story in language that makes sense to the reader. For example, if the story takes place in America:

What to do:

John: I think I've finally figured it out!
Lucy: Figured what out? That you're crazy?
John: The president isn't trying to help this country. He's trying to run it straight into the ground!
Lucy: Now I REALLY think you're crazy...

What NOT to do:

John: Alas! Bithinken have I, aboute thy fathom of thine examinement!
Lucy: Fathom? Fathom thine insanity?
John: Thy leader is not attempting to aide thy country. Thy leader desires destruction of thy country!
Lucy: Thus, I FASTE fathom thine insanity...

At the right times, describe what is happening, rather than using dialogue. For example:

What to do:

She
touched her lips gently to mine. I felt a wave of euphoria, and all I
could do was embrace her in my arms. I wished this moment could last
forever.

What NOT to do:

John: You touched
your lips gently to mine. I felt a wave of euphoria, and all I could do
was embrace you in my arms. I wished this moment could last forever.
Lucy: Why are you telling me this?

Remember,
you don't have to be the world's fanciest writer to be the world's best
writer. Make your sentences easy to read and understand. For example:

What to do:

John: I think I've finally figured it out!
Lucy: Figured what out? That you're crazy?
John: The president isn't trying to help this country. He's trying to run it straight into the ground!
Lucy: Now I REALLY think you're crazy...

What NOT to do:

John: I believe that I have come to the conclusion of that which I was attempting to ascertain!
Lucy: Ascertain what? That you are insane?
John: Helping this country is not what the president desires. He is attempting to scurry it directly into the earth!
Lucy: It is now that I realize how exceptionally occupied you are with insanity...

However,
that doesn't mean you shouldn't write well. A thesaurus can show you
the difference between a masterpiece and an elementary school paper...

Also, check every word, phrase, sentence, and paragraph you've written. Is it the best you can write? Is it even needed?

Write Naturally

Write
the way normal people would talk. Don't try too hard sounding "smart."
Especially in narratives. In dialogue, it's not completely out of bounds
to write differently if, say, that's the character's personality. But
it's unnecessary in narratives. If you write well, you will sound
"smart." In fact, you will get a broader audience by writing simple than
by writing complex. Believe me. I read the Scarlet Letter...

More About Dialogue

Pace It Well

Make sure your dialogue is well-paced. You don't want it to be too fast or too slow.

Keep It Interesting

Make your dialogue interesting. If it's interesting, obviously, people will enjoy reading it.

Make It Character-Based

Make sure your dialogue is based on character. Don't make an English professor sound like Forrest Gump...

Remember, Punctuation is Your Friend

Do NOT be afraid of using punctuation in your story!

Honestly...I see punctuation problems WAY too often, so this section could be of major use...

All About the Commas

Your
English teacher may have told you differently, but in an actually
story, commas are placed in many places, in order to make it seem more
natural. Here are the rules when using commas:

1.
Use a comma to separate the elements in a series (three or more
things), including the last two. "John bought some cake, ate some, and
gave the rest to Lucy." In school, you may have learned that the comma
before the "and" isn't necessary. This is fine, if you're in control of
things. However, there are situations when, if you don't use this comma
(especially when the list is complex or lengthy), these last two
elements may be seen as a part of each other. Using a comma before the
"and" will avoid this problem. This comma is often referred to as is the
serial comma or the Oxford comma.

2.
Use a comma and a conjunction (and, but, for, nor, yet, or, so) to
connect two independent clauses, such as "John wants to be a writer, but
he must get an education." Some writers leave out the comma if the
conjunction is adequate separation. However, it is probably best to use
the comma, since it is never wrong, in this case. Also, one of the most
common errors in comma usage is the placement of a comma after
the conjunction. It isn't necessarily a wrong thing to do, but it's rare
that we would have to follow the conjunction with a comma. When we
speak, we sometimes pause after a conjunction. But there is rarely a
reason to put a comma there.

3.
Use a comma to set off introductory elements. For example, "Glancing
both ways, John decided to cross the road." In some cases, it is
acceptable to omit the comma. But I suggest using it always, as you can
never go wrong.

Also, an adverbial clause that begins a sentence is set off with a comma:

Although Queasybreath had spent several years in Antarctica, he still bundled up warmly in the brisk autumns of Ohio.
Because Tashonda had learned to study by herself, she was able to pass the entrance exam.

When
an adverbial clause comes later on in the sentence, however, the writer
must determine if the clause is essential to the meaning of the
sentence or not. A "because clause" can be particularly troublesome in
this regard. In most sentences, a "because clause" is essential to the
meaning of the sentence, and it will not be set off with a comma:

The Okies had to leave their farms in the midwest because the drought conditions had ruined their farms.

Sometimes, though, the "because clause" must be set off with a comma to avoid misreading:

I
knew that President Nixon would resign that morning, because my
sister-in-law worked in the White House and she called me with the news.

Without
that comma, the sentence says that Nixon's resignation was the fault of
my sister-in-law. Nixon did not resign because my sister-in-law worked
in the White House, so we set off that clause to make the meaning
clearly parenthetical.

4.
Grammar English's Famous Rule of Punctuation: Never use only one comma
between a subject and its verb. "Believing completely and positively in
oneself is essential for success." Although readers might pause after
the word "oneself," there is no reason to put a comma there.

5.
Use a comma to separate coordinate adjectives. You could think of this
as "That tall, distinguished, good looking fellow" rule (as opposed to
"the little old lady"). If you can put an "and" or a "but" between the
adjectives, a comma will probably belong there. For instance, you could
say, "He is a tall and distinguished fellow" or "I live in a very old
and run-down house." So you would write, "He is a tall, distinguished
man" and "I live in a very old, run-down house." But you would probably
not say, "She is a little and old lady," or "I live in a little and
purple house," so commas would not appear between little and old or
between little and purple.

6. Use commas to set off phrases that express contrast. A few examples are:

"Some say the world will end in ice, not fire."
"It was her money, not her charm or personality, that first attracted him."
"The puppies were cute, but very messy."

(Some writers will leave out the comma that sets off a contrasting phrase beginning with but.)

7. Use a comma to avoid confusion. This is often a matter of consistently applying rule #3. Here are a few examples:

"For most the year is already finished."
"For most, the year is already finished."
"Outside the lawn was cluttered with hundreds of broken branches."
"Outside, the lawn was cluttered with hundreds of broken branches."

Here's a quote from the great Oscar Wilde:

"I have spent most of the day putting in a comma and the rest of the day taking it out."

8.
Typographical Reasons: Between a city and a state [Hartford,
Connecticut], a date and the year [June 15, 1997], a name and a title
when the title comes after the name [Bob Downey, Professor of English],
in long numbers [5,456,783 and $14,682], etc. Although you will often
see a comma between a name and suffix — Bob Downey, Jr., Richard
Harrison, III — this comma is no longer regarded as necessary by most
copy editors, and some individuals — such as Martin Luther King Jr. —
never used a comma there at all.

Note that we use a comma or a set of commas to make the year parenthetical when the date of the month is included:

July 4, 1776, is regarded as the birth date of American liberty.

Without the date itself, however, the comma disappears:

July 1776 was one of the most eventful months in our history.

In international or military format, no commas are used:

The Declaration of Independence was signed on 4 July 1776.

9.
Use a comma to set off quoted elements. Because we don't use quoted
material all the time, even when writing, this is probably the most
difficult rule to remember in comma usage. It is a good idea to find a
page from an article that uses several quotations, photocopy that page,
and keep it in front of you as a model when you're writing. Generally,
use a comma to separate quoted material from the rest of the sentence
that explains or introduces the quotation:

Summing up this
argument, Peter Coveney writes, "The purpose and strength of the
romantic image of the child had been above all to establish a relation
between childhood and adult consciousness."

If an attribution of a
quoted element comes in the middle of the quotation, two commas will be
required. But be careful not to create a comma splice in so doing.

"The question is," said Lucy, "whether you can make words mean so many things."
"I should like to buy an egg, please," she said timidly. "How do you sell them?"

Be careful not to use commas to set off quoted elements introduced by the word that or quoted elements that are embedded in a larger structure:

Peter Coveney writes that "[t]he purpose and strength of . . ."
We often say "Sorry" when we don't really mean it.

And,
instead of a comma, use a colon to set off explanatory or introductory
language from a quoted element that is either very formal or long
(especially if it's longer than one sentence):

Peter Coveney had this to say about the nineteenth-century's use of children
in fiction: "The purpose and strength of . . . . "

10.
Use a comma to set off parenthetical elements, as in "The Founders
Bridge, which spans the Connecticut River, is falling down." By
"parenthetical element," we mean a part of a sentence which can be
removed without changing the essential meaning of that sentence. The
parenthetical element is sometimes called "added information." This is
the most difficult rule in punctuation because it is sometimes unclear
what is "added" or "parenthetical" and what is essential to the meaning
of a sentence.

Appositives are almost always treated as parenthetical elements.

John's ambition, to become a goalie in professional soccer, is within his reach.
Lucy, his wife of thirty years, suddenly decided to open her own business.

Sometimes
the appositive and the word it identifies are so closely related that
the comma can be omitted, as in "His wife Lucy suddenly decided to open
her own business." We could argue that the name "Lucy" is not essential
to the meaning of the sentence (assuming he has only one wife), and that
would suggest that we can put commas both before and after the name
(and that would also be correct), but "his wife" and "Lucy" are so close
that we can regard the entire phrase as one unit and leave out the
commas. With the phrase turned around, however, we have a more definite
parenthical element and the commas are necessary: "Lucy, his wife,
suddenly decided to open her own business." Consider, also, the
difference between "College President John voted to rescind the
withdrawal policy" (in which we need the name "John" or the sentence
doesn't make sense) and "John, the college president, voted to rescind
the withdrawal policy" (in which the sentence makes sense without his
title, the appositive, and we treat the appositive as a parenthetical
element, with a pair of commas).

When a parenthetical element —
an interjection, adverbial modifier, or even an adverbial clause —
follows a coordinating conjunction used to connect two independent
clauses, we do not put a comma in front of the parenthetical element.

The Red Sox were leading the league at the end of May, but of course, they always do well in the spring. [no comma after "but"]
The Yankees didn't do so well in the early going, but frankly, everyone expects them to win the season. [no comma after "but"]
The
Tigers spent much of the season at the bottom of the league, and even
though they picked up several promising rookies, they expect to be there
again next year. [no comma after "and"]

When both a
city's name and that city's state or country's name are mentioned
together, the state or country's name is treated as a parenthetical
element.

We visited Hartford, Connecticut, last summer.
Paris, France, is sometimes called "The City of Lights."

When the state becomes a possessive form, this rule is no longer followed:

Hartford, Connecticut's investment in the insurance industry is well known.

Also, when the state or country's name becomes part of a compound structure, the second comma is dropped:

Heublein, a Hartford, Connecticut-based company, is moving to another state.

An absolute phrase is always treated as a parenthetical element, as is an interjection.
An addressed person's name is also always parenthetical. Be sure,
however, that the name is that of someone actually being spoken to. A
separate section on Vocatives, the various forms that a parenthetical element related to an addressed person's name can take, is also available.

Their years of training now forgotten, the soldiers broke ranks.
Yes, it is always a matter, of course, of preparation and attitude.
I'm telling you, Lucy, I couldn't be more surprised. (I told Lucy I couldn't be more surprised. [no commas])

11. Use Commas With Caution!

As
you can see, there are many reasons for using commas, and these aren't
even all of them. Yet the biggest problem that most students have with
commas is their overuse. Some essays look as though the student loaded a
shotgun with commas and blasted away. Remember, too, that a pause in
reading is not always a reliable reason to use a comma. Try not to use a
comma unless you can apply a specific rule from this tutorial to do so.

Closing Statements

Don't forget to tap into your readers' emotions...

Clichés are OK, as long as you add a new flavor, so that it doesn't seem too much like what has already been done.