How to Write a great StoryMaking a great story
Writing a great story of fiction
The fictional tale has one or more main figures who appear on the screen and act according to your instructions, saying the things you say in their mouth. They decide whether the storyline or storyline is a combination of the two.
Being a fictional writer, you have the ability to get your character to do and say what you want and make good and bad for them. By planning your storyline before you start writing it, you can build powerful personalities that respond credibly to the circumstances and environment in which you place them.
They have the full liturgical licence to overdo, impose impossibility constraints and creating practical things and do what you like as long as you are producing something interesting to please your reader. All the best fictional tales are lifelike and naturally, with figures and sequences from reality, though not necessarily from the world.
To create exceptional personalities, to do exceptional things and to say exceptional words also works if you create an exceptional and yet possible ambience. Whilst the reflection of the fictional should be a reflection of the natural world, you do not need to create a fictional image to just think about the ordinary things we see or listen to. Big fictional tales usually have one or more main figures - a man and a man or a man and a man and a woman- who speak and communicate more intelligent and brighter than most of us.
A gentle, daily, average person cannot stand a main role in a novel. When you decide to bring regular personalities into your storyline, you should make them "unique". While you can put a storyline on a "floor" of similarities, you have to let your protagonists run a little bit quicker than most humans and sequences - although lifelike and intact.
Relatively few tales are without two different personalities - one masculine, the other feminine - and the writer usually makes them enthusiasts and allows them to get married at some point in the tale, but defers the marriage until later. There is no emotion in few works of fiction: depictions and betrayal of the relationship between men and their mothers.
You will always initiate a catastrophe with the help of one or more villainous people. It takes a gloomy attitude to bring out the full brightness of even the most pure notion. In order to contrasts your storyline, you can present personalities and scenes that allow the heroes and heroines to appear in a clear and bright lighting.
The addition of contrasts or differences is a necessary part of fictional tales, even adventures; and it does not in any way disturb the agitation of peril, but rather reinforces it. There''s lots of fun in this. Neither the character sits still, nor does he go, speak, act or respond calmly.
Big personalities move quickly from one scene to another, meeting in turns with happiness and catastrophe, a good story keeps personalities on the line of fire, always willing to act, the force of thought groups personalities in the light of day and transmits them in the darkness, and a ragged dialog and continuous acting make it superfluous to add long passages of explanations.
To write destiny is not an effortless job. You will need to have many other writers. They should become familiar with general literary topics and the novel ist's life, method, qualities and sentiments. If you want to be successful, be yourself, not another author. It is not possible to successfully repeat the work of another author.