Semicolons, Em-dashes, and Ellipses

When it refers to real life, a Point of View is the “position from which something is viewed”. In story-telling, it translates into “who is telling the story?”Whose viewpoint is it? How much of it is biased because it is only one point of view? How much can a reader believe if it is coming from one ‘position’ only?Let me try and answer these questions.

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Point of View in story-telling

When it refers to real life, a Point of View is the “position from which something is viewed”. In story-telling, it translates into “who is telling the story?”Whose viewpoint is it? How much of it is biased because it is only one point of view? How much can a reader believe if it is coming from one ‘position’ only?Let me try and answer these questions.

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Midpoints that impel the story onwards

This week I’m going to talk about how to write a midpoint that keeps the reader turning the pages.As the word suggests, the midpoint of a story comes right at the center of it.How should it be written?Why should we care?Regardless of what genre we write, the first quarter of the story is invariably where the characters are introduced to the reader and where the events that complicate the main characters’ lives take place.This part is the set-up to the second quarter of the story which highlights how the characters react to the life-altering events (job offer, job loss, tragedy, natural disaster, unexpected inheritance) that beset them.Their reactions drive the story forward – if they don’t react, there will be no story.

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Writing Love Scenes

When there’s a romance brewing between two characters in a story, even in genres other than romantic fiction, readers will want the characters to, at the very least, kiss.

When I’m reading, I know that I always want that to happen – and I feel let down when a story with a promising slow-sizzle ends without a physically sensual moment. I’m sure the protagonists feel cheated too.

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He said, she said: Dialogue Tags

This week, I’m going to talk about Dialogue Tags.

If my book characters say something, how will readers know who spoke?
How will they know who said what when they can’t physically see or hear the characters?

Through dialogue tags, that’s how. Dialogue tags are phrases or sentences that tie or tag a character to a particular dialogue.

Consider this conversation (Example A):
‘What on earth are you doing?’
‘How is it any of your bloody business what I do?’
‘It is my bloody business because this is my bloody house!’

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Is your writing clichéd to the hilt?

A cliché is a phrase that is symbolic or figurative rather than literal; for example: I am over the moon. Really? Clearly not, unless you are in a space ship, in which case it is a literal situation and therefore not a cliché.

A cliché can be an idiom, as in the example above; a metaphor [it was the final straw]; a simile [she sank like a stone]; or a proverb [knowledge is power].

At one time, eons ago, it was considered natty to use such phrases in speech and in writing. The concept was still new and they sounded clever.

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B is for Burnout

This week, the letter is B, and I’m going to talk about Writer’s Block and Burnout.

Let’s first distinguish Writer Burnout from Writer’s Block.
I read an interesting take on the topic at Litreactor.com:
When the voices in your head refuse to speak to you, it is Writer’s Block, but when they’re shouting at you to put pen to paper, and you simply cannot, that’s Burnout.

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A is for Anti-heroes

Welcome to “Authors’ Tips – A to Z of Writing”

This is a new series of blog posts where eight of us – Devika Fernando, Preethi Venugopala, Paromita Goswami, Adite Banerjie, Ruchi Singh, Sudesna Ghosh, Saiswaroopa Iyer and I – will post on a myriad of writing-related topics with the topic corresponding to the Alphabet of the Week.

We are starting with the letter A, a very good place to start, and Adite has set the ball rolling with her post on Authenticity in Writing. I am writing on A is for Antiheroes

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Meet Mita from “Take One Fake Fiancé”: featured by Devika Fernando

Introducing Mita – the spirited female lead in Reet Singh’s “Take One Fake Fiancé”

‘I won’t do it, Mama.’ Mita glared at her mother through eyes as black as thunder clouds. ‘You’ll have to be the one to tell Uncle Raja. I refuse to speak to your interfering brother.’
She fled the room before her mother could get a word in, and left behind a faint bouquet of jasmine, a strong whiff of displeasure, and a distraught mother. The front door banged loudly, its old timber creaking in protest at such ill-treatment and Radhika sank into the nearest chair.
Would her only child shun marriage forever? It wasn’t fair to blame Mita’s father, Deepak, but if he

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