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Hook you reader

E. L. Doctorow once said that "writing a novel is like driving a car at night. You can  see  only  as  far  as  your  headlights,  but  you  can  make  the  whole  trip  that way."

You  don’t  have  to  see  where  you’re  going,  you  don’t  have  to  see  your destination or everything you will pass along the way. You just have to see two or  three  feet  ahead এগিয়ে of  you.  This  is  right  up  there  with  the  best  advice  about writing, or life, I have ever heard.

10 Ways To Hook Your Reader (and Reel পুনরাবর্তন করা, চক্রাকারে ঘোরা, বৃত্তাকারে পরিভ্রমণ করা Them in for Good)
1. Begin at a pivotal কেঁদ্রীয় moment মুহূর্ত.
2. Add an unusual অস্বাভাবিক situation. অবস্থা
3. Add an intriguing গুপ্ত চক্রান্ত, কৌতূহল জাগান, ষড়্যন্ত্র করা, মুগ্ধ করা character চরিত্র
4. Conflict মতবিরোধ, অনৈক্য, অমিল, বিবাদ, সঙ্ঘর্ষ
5. Add an antagonist প্রতিদ্বন্দ্বী, শত্রুপক্ষ, সম্পূর্ণ বিরোধী.
6. Change emotion মানসিক আবেগ, কিছু ক্ষণ হাসিয়ে, কিছু সেকেন্ড পর হাসিরপর কাঁদিয়ে, আবার কিছু সময় পর, ভয় দেখিয়ে, আবার কিছু সময় পর কাঁদিয়ে, তার পর হাসিয়ে এভাবে সব মানুষিক অবস্থা ক্ষণে ক্ষণে পরিবর্তন মাধ্যমে।
7. Irony অতি কঠিন, অতি নির্মম, বিদ্রূপ, তীব্র কটাক্ষ, উপহাস করা, ব্যঙ্গ,  and surprise আকস্মিক বা অপ্রত্যাশিত ঘটনাদির ফলে চমক, আশ্চর্যান্বিত হত্তয়া, হতচকিত করান, চমকপ্রদ, অতর্কিতে আকর্ষণ বা গ্রেপ্তার,
8. Make People Wonder অদ্ভুত ব্যাপার বা ঘটনা, জানিতে উৎসুক হওয়া, অবাক্ হত্তয়া, সন্দেহ করা, বিস্ময়কর বস্তু, বিস্ময়কর ব্যক্তি, বিস্ময়কর প্রাণী, বিস্ময়কর ঘটনা, দূরকল্পনা করা।
9. Dread ভয়, আশঙ্কা করা, ভয়ে পিছাইয়া আসা Factor অন্যতম উপাদান।
10. Keep বক্তার বা লেখকের নিজের জবানীতে বলা আখ্যান narrative ধারাবাহিক বর্ণনা voice compelling জবরদস্ত, শক্তিশালী, অটল, স্পষ্ট।

• একটি মূল মুহূর্ত শুরু
• একটি অস্বাভাবিক পরিস্থিতি যোগ করুন।
• একটি কৌতুকপূর্ণ চরিত্র যোগ করুন
• দ্বন্দ্ব
• একটি প্রতিপক্ষ যোগ করুন
• আবেগ পরিবর্তন করুন

100 Small But Expressive Interjections

100 Small But Expressive Interjections

They often seem disreputable, like sullen idlers loitering in a public thoroughfare, but they actually do a lot of hard work and are usually persnickety about the tasks to which they are put. They are interjections — one class of them, anyway: those lacking etymological origins but packed with meaning.

But how do you know how to distinguish similar ones — or spell them, for that matter? Here's an incomplete inventory of interjections (not including variations of actual words such as yeah for yes or onomatopoeic echoes of externally produced sounds like boom):

Ack communicates disgust or dismissal.

Ah can denote positive emotions like relief or delight (generally, pronounced with a long a).

Aha signals triumph or surprise, or perhaps derision.

Ahem is employed to gain attention.

Argh, often drawn out with additional h's, is all about frustration.

Aw can be dismissive or indicative of disappointment, or, when drawn out, expressive of sympathy or adoration.

Aye denotes agreement.

Bah is dismissive.

Blah communicates boredom or disappointment.

Blech (or bleah or bleh) implies nausea.

Boo is an exclamation to provoke fright.

Boo-hoo is imitative of crying and is derisive.

Boo-ya (with several spelling variants) is a cry of triumph.

Bwah-hah-hah (variously spelled, including mwah-hah-hah) facetiously mimics the stereotypical archvillain's triumphant laugh.

D'oh is the spelling for the muttering accompanying Homer Simpson's trademark head-slapping self-abuse.

Duh derides someone who seems dense.

Eek indicates an unpleasant surprise.

Eh, with a question mark, is a request for repetition or confirmation of what was just said; without, it is dismissive.

Er (sometimes erm) plays for time.

Ew denotes disgust, intensified by the addition of one or more e's and/or w's.

Feh (and its cousin meh) is an indication of feeling underwhelmed or disappointed.

Gak is an expression of disgust or distaste.

Ha expresses joy or surprise, or perhaps triumph.

Ha-ha (with possible redoubling) communicates laughter or derision.

Hamana-hamana, variously spelled, and duplicated as needed, implies speechless embarrassment.

Hardy-har-har, or har-har repeated as needed, communicates mock amusement.

Hee-hee is a mischievous laugh, while its variants heh and heh-heh (and so on) can have a more derisive connotation.

Hey can express surprise or exultation, or can be used to request repetition or call for attention.

Hist signals the desire for silence.

Hm, extended as needed, suggests curiosity, confusion, consternation, or skepticism.

Hmph (also hrmph or humph) indicates displeasure or indignation.

Ho-ho is expressive of mirth, or (along with its variant oh-ho) can indicate triumph of discovery.

Ho-hum signals indifference or boredom.

Hubba-hubba is the vocal equivalent of a leer.

Huh (or hunh) is a sign of disbelief, confusion, or surprise, or, with a question mark, is a request for repetition.

Hup, from the sound-off a military cadence chant, signals beginning an exerting task.

Hurrah (also hoorah, hooray, and hurray, and even huzzah) is an exclamation of triumph or happiness.

Ick signals disgust.

Lah-de-dah denotes nonchalance or dismissal, or derision about pretension.

Mm-hmm, variously spelled, is an affirmative or corroborating response.

Mmm, extended as needed, conveys palatable or palpable pleasure.

Mwah is suggestive of a kiss, often implying unctuous or exaggerated affection.

Neener-neener, often uttered in a series of three repetitions, is a taunt.

Now (often repeated "Now, now") is uttered as an admonition.

Oh is among the most versatile of interjections. Use it to indicate comprehension or acknowledgment (or, with a question mark, a request for verification), to preface direct address ("Oh, sir!"), as a sign of approximation or example ("Oh, about three days"), or to express emotion or serves as a response to a pain or pleasure. (Ooh is a variant useful for the last two purposes.)

Oh-oh (or alternatives in which oh is followed by various words) is a warning response to something that will have negative repercussions.

Olé, with an accent mark over the e, is borrowed from Spanish and is a vocal flourish to celebrate a deft or adroit maneuver.

Ooh, with o's repeated as needed, conveys interest or admiration, or, alternatively, disdain.

Ooh-la-la is a response to an attempt to impress or gently mocks pretension or finery.

Oops (and the jocular diminutive variation oopsie or oopsy and the variant whoops) calls attention to an error or fault.

Ouch (or ow, extended as needed) signals pain or is a response to a harsh word or action.

Oy, part of Yiddish expressions such as oy gevalt (equivalent to "Uh-oh"), is a lament of frustration, concern, or self-pity.

Pff, extended as needed, expresses disappointment, disdain, or annoyance.

Pfft, or phfft, communicates abrupt ending or departure or is a sardonic dismissal akin to pff.

Phew, or pew, communicates disgust, fatigue, or relief. (Phooey, also spelled pfui, is a signal for disgust, too, and can denote dismissal as well. PU and P.U. are also variants.)

Poof is imitative of a sudden disappearance, as if by magic.

Pooh is a contemptuous exclamation.

Pshaw denotes disbelief, disapproval, or irritation or, alternatively, communicates facetious self-consciousness.

Psst calls for quiet.

Rah, perhaps repeated, signals triumph.

Shh (extended as necessary) is an imperative for silence.

Sis boom bah is an outdated encouraging cry, most likely to be used mockingly now.

Tchah communicates annoyance.

Tsk-tsk and its even snootier variant tut-tut are condemnations or scoldings; the related sound tch is the teeth-and-tongue click of disapproval.

Ugh is an exclamation of disgust.

Uh is an expression of skepticism or a delaying tactic.

Uh-huh indicates affirmation or agreement.

Uh-oh signals concern or dismay.

Uh-uh is the sound of negation or refusal.

Um is a placeholder for a pause but also denotes skepticism.

Va-va-voom is an old-fashioned exclamation denoting admiration of physical attractiveness.

Whee is an exclamation of excitement or delight.

Whew is a variant of phew but can also express amazement.

Whoa is a call to halt or an exclamation of surprise or relief.

Whoop-de-doo and its many variants convey mocking reaction to something meant to impress.

Woo and woo-hoo (and variations like yahoo, yee-haw, and yippee) indicate excitement. (Woot, also spelled w00t among an online in-crowd, is a probably ephemeral variant.)

Wow expresses surprise.

Yay is a congratulatory exclamation. (Not to be confused with yeah, a variant of yes.)

Yikes is an expression of fear or concern, often used facetiously.

Yo-ho-ho is the traditional pirates' refrain.

Yoo-hoo attracts attention.

Yow, or yowza, is an exclamation of surprise or conveys being impressed.

Yuck (also spelled yech or yecch) signals disgust. (Not to be confused with yuk, a laugh.)

Yum, or yummy, is a response to the taste of something delicious and, by extension, the sight of an attractive person.

Zoinks is an expression of surprise or amazement popularized by the cartoon character Shaggy, of Scooby Doo fame.

Zowie, often in combination following wowie, a variant of wow, expresses admiration or astonishment.

ANOTHER USUFUL LIST. I ADDED AN EXTERNAL LINK SO YOU GUYS CAN CHECK THE ORIGINAL.

সংলাপ লেখার জন্য 9 টি উপায়

“The king died and then the queen died,” is a story. “The king died, and then the queen died of grief,” is a plot.

The queen died, no one knew why, until it was discovered that it was through grief at the death of the king.” This is a plot with a mystery in it.

The only other thing to say about this chain of events is that each one, broadly speaking, should be a little “bigger” than the event before. For example…

If a soldier’s first goal is to take out the guard patrolling the perimeter fence, his next goal should be to take out the machine gun post by the entrance.

If a criminal gang’s first job is to rob a small town bank of a few thousand dollars, make their next job to rob the city bank of millions.

And if the first confrontation between two characters is an argument, their next meeting should result in a fight.

There are five critical elements in there. Let’s look at them one by one…

i) The character must have a goal

ii) The goal of the plot must be urgent জরুরী

iii) The goal must be important.

iv) The goal must be difficult to achieve.

v) The goal must be concrete জমাটবদ্ধ.

You can have a happy ending (the hero succeeded). You can have a sad ending (the hero failed). Or you can go for something in the middle (the hero failed, but he became wiser along the way and realized that it wasn’t such a smart goal to chase in the first place).

if you have different goals, you have different plots…

The hero’s goal in the main plot is to successfully rob the casino.

His goal in the subplot is to save his marriage.

The accomplice’s subplot revolves around the casino robbery. But whereas the hero’s goal is to get rich, the accomplice’s goal is to exact revenge on the casino manager, who was responsible for the death of his best friend.

Always try to create a well-balanced cast of characters. What does that mean? Don’t make your characters too alike…

If one is cultured, make another a huge fan of fast food and trashy TV.

If one is loud and flamboyant, make another cool and laconic.

If one is a joker, make another serious.

The First Rule of Creating Fictional Characters:

1. Make the Characters Charismatic

There simply has to be something about them.

They have to be the kind of people whose presence electrifies a room, the kind of people you can’t take your eyes off. If a fictional character can walk into a room unnoticed, readers probably won’t take much notice of them, either.

2. Make the Characters Likeable

. The question is, what qualities separate the nice from the not-so-nice?

Kindness? Generosity? Selflessness? Yes, all of these things – plus probably a thousand other traits.

Readers tend to love fictional characters who…

1) Are dependable নির্ভরযোগ্য Are modest বিনয়ী

2) Keep their promises  তাদের প্রতিশ্রুতি রাখুন ।

3) Play fair. (Not that they won’t break the rules, but they will have a strong moral code to keep them from crossing the line.)

4) Don’t see themselves as being better than others.

5) Help others for no personal gain.

6) Have a sense of humor 6) হাস্যরস একটি অনুভূতি আছে। Are courageous সাহসী (Not that they won’t show fear – in fact, it’s better if they do – but they must always overcome it.)

7) Are willing to make sacrifices বলি for the wider good.

8) Have goals we can sympathize with.

9) Tell the truth.

10) Are level-headed.

11) Are smart – more in a street wise, common-sensical way than an intellectual one.

12) Are even-tempered.

13) Are kind and generous and compassionate to others. দয়ালু ও উদার এবং সহানুভূতিশীল

14) Are the victims ক্ষতিগ্রস্তদের of an injustice অবিচার

15) 14)

16) Are uncomplaining ক্ষান্ত Are volunteers – that is, they are willing to put themselves forward to do whatever needs to be done without being press-ganged into action.

17) Are cool under pressure.

Readers tend to dislike fictional characters who…

1) Cannot be relied নির্ভরশীল upon.

2) Are immodest নির্লজ্জ braggers অহংকার করা ।

3) Break promises and let people down মানুষ নিচে না – and don’t care that they do.

4) Play dirty মলিন (Not only do they break the rules, they break the “unbreakable অলঙ্ঘনীয় " rules.)

5) Are ugly or deformed. কুৎসিত বা বিকৃত। (Movie villains often have scars ক্ষত or a bad complexion রুপ)

6) Think of themselves as superior উচ্চতর to others.

7) Are self-serving ধান্দাবাজ.

8) Are humorless কৌতুকরসবোধ

9) Are ultimately পরিণামে cowards কাপুরুষদের

10) Are selfish, only out for what they can get for themselves.

11) Have goals and dreams and ambitions উচ্চাভিলাষ which don’t strike ধর্মঘট us as worthy সুযোগ্য .

12) Tell lies.

13) Are insane উন্মাদ – a little or a lot.

14) Are overly intellectual বুদ্ধিজীবী

15) Are inconsistent অসঙ্গত in their behavior and suffer from mood swings.

16) Are bullies দুর্বলের উত্পীড়ক,নিগ্রহ ,even sadists.

17) Are responsible দায়ী for injustices against others.

18) Whine ঘেনঘেন and complain about their own problems.

19) Never volunteer স্বেচ্ছাসেবক but have to be drafted ড্রাফট.

20) Panic আতঙ্ক under pressure.

(I don’t claim that this list – nor the previous one – is exhaustive, but the points should give you a good idea of the sorts of traits to look out for when creating an heroic, or a villainous, character of your own.)

 Want to know the most important thing about writing dialogue in fiction? If it sounds like a conversation you’d hear in the real world, you’ve gone horribly wrong somewhere.

 As a matter of fact, it’s a good idea to think of your novel as not having heroes and villains at all, but rather characters with opposing goals, each of whom is right in his or her own mind.

 3. Make the Characters Interesting

But also make him a roulette expert who is planning to cheat the casino out of millions with the help of a 19-year-old pole dancer called Kandy and the readers will sit up and take notice!

As with all of these character traits I am discussing, the specific qualities which make a character interesting – or charismatic, likeable, whatever – are ones you will have to decide upon for yourselves.

But here are some of the things that would make a fictional character interesting to me…

 The job they do – a spy, perhaps, or someone who quit the rat race to farm Alpacas, or a tightrope walker with vertigo.

 The places they have been and the sights they have seen – the more exotic বহিরাগত and unusual, the better.

 Their skills and talents – playing the harpsichord বাদ্যযন্ত্রবিশেষ, perhaps সম্ভবত, or the ability to perform magic or to walk on fire.

Your list would probably look very different, but if the things you use to make fictional characters interesting are interesting to you, you will be able to write about them with enough passion to interest the people who count: the readers.

4. Make the Characters Both Ordinary and Extraordinary

The ideal fictional character, then, will be both…

 Familiar… and unfamiliar.

 Just like us… and not like us at all.

 Ordinary… and extraordinary.

In short, creating fictional characters is a kind of balancing act…

It is a character’s ordinariness that will make the novel’s readers warm to them initially. And it is whatever is extraordinary about them that will prick the audience’s curiosity and make them want to stick around for more.

Now for “realistic” fictional characters…

Realistic characters in fiction are just like us. We can recognize ourselves in them, and we therefore find them easy to like. We can imagine them living next door to us, inviting us round for a beer. Here are some examples…

Lieutenant Columbo.

Doctor Watson (compared to the romantic Sherlock Holmes).

George Smiley.

• Bad novels provide entertainment or understanding. But only good novels provide both.

Generally speaking, characters from genre fiction tend to be essentially romantic, while characters in literary novels tend to be essentially realistic. Although as we have just seen with Colombo, this is only a rule of thumb and is frequently not the case.

Depending on the decision you make, you then have to do one of two things…

 If you have created a romantic character, you need to decide what is ordinary about them.

 If you have created a realistic character, you need to decide what is extraordinary about them.

5. Make the Characters Well-Motivated

6. Make the Characters Dynamic.

7. Make the Characters Good At What They Do.

8. Make the Characters A Little Unhappy

The next time you’re on a crowded bus or sitting by yourself in a bustling restaurant, just listen to the two people closest to you talking. You’ll hear them…

speak over each other

say “um” and “er” a lot

jump from one topic to another with no warning.

All of which is fine in the real world, but hopeless for novel writing.

Writing dialogue isn’t about replicating a real-life conversation. It’s about giving an impression of it. And, yes, improving on it.

If fiction is like real life with the dull bits taken out, exactly the same thing applies to fictional conversations. The role of the writer is to select what is important and then distil it down to its very essence.

The rules below will help you to write realistic dialogue that keeps your readers gripped – and definitely no dull bits!

1. Dialogue Must Be In Conflict

It’s obvious, really. Just as a description of two young lovers spending a perfect day out at the zoo doesn’t constitute a plot (not unless the girl falls in the lion enclosure!)… so two people chatting about nothing much at all (and not disagreeing with each other, either) doesn’t constitute dialogue.

Pleasant conversations are great in real life. Even if nothing especially interesting gets said, who doesn’t like chewing the fat with a neighbor over the fence or a friend over coffee?

Listening in on those conversations, as a third party, would be about as exciting as watching laundry dry. So make sure you don’t subject your readers to tedious, yawn-inducing dialogue in your novel.

How do you ramp up the excitement? Easy…

Give the two characters conflicting goals – one of them wants one thing, the other something else. Even if it doesn’t end in a shouting match here and now, the underlying tension will be all you need to keep the readers turning those pages.

To illustrate that, take a look at this example…

“What are we having for dinner?” asked Jane.

Bill opened the fridge, shifted the milk to see to the back. “How does steak sound?”

“Sounds great.”

“There’s chicken if you prefer,” he said.

“No, steak is fine. With mashed potatoes.”

A perfectly nice conversation, the kind we all have everyday – but hopeless for the purposes of novel writing. Add some conflict into the mix, though, and it might look something like this…

“What are we having for dinner?” asked Jane.

Bill opened the fridge, shifted the milk to see to the back. “How does steak sound?”

“What, again?”

“We haven’t had steak since last Saturday,” he said.

“I know. And the Saturday before that and the one before that! Don’t you ever fancy something different, Bill?”

Much more interesting. Why? Because the dialogue is in conflict. Jane wants one thing and Bill wants something else…

Bill wants to stick to the same old routine.

Jane wants some adventure in their relationship.

And when characters have conflicting goals, consequences are sure to follow later in the novel.

Of course, there is nothing wrong with having some everyday conversation in a novel. The rules of dialogue, along with every other kind of novel writing rule, are there to be broken.

Sometimes a simple exchange of information between characters will be exactly what is required.

But for the most part, go for tension and disagreement and conflict between the characters. Besides, writing dialogue is much more fun that way!

Dialogue/ সংলাপ

Dialogue:

Want to know the most important thing about writing dialogue in মিথ্যা গল্প fiction? If it sounds like a conversation you’d hear in the real world, you’ve gone ভয়ঙ্কর horribly wrong somewhere.

Seriously…

The next time you’re on a crowded ঘনবসতিপূর্ণ bus or sitting by yourself in a bustling ব্যস্ততা রেস্টুরেন্ট restaurant, just listen to the two people নিকট closest to you talking. You’ll hear them…

speak over each other

say “um” and “er” a lot

jump from one topic to another with no warning.

All of which is fine in the real world, but কাজের নয় hopeless for novel writing.

Writing dialogue isn’t about চিত্রের প্রতিলিপি করা replicating a real-life conversation. It’s about giving an গভীর অনুভূতি / প্রবল উদ্দীপনা impression of it. And, yes, improving  on it.

If fiction is like real life with the নিষ্প্রাণ dull bits অল্পমুল্যের মুদ্রা ভিতর হইতে অপসৃত করা taken out, ঠিক exactly the same thing applies to fictional conversations. The কারো নির্দিষ্ট কর্তব্য role of the writer is to select what is important and then তরলকে গরম করে বাষ্পে পরিণত করা distil it down to its very সারমর্ম essence.

The rules below will help you to write realistic বাস্তবধর্মী dialogue that keeps your readers করায়ত্ত gripped – and স্পষ্টভাবে definitely no নিষ্প্রাণ dull bits!

1. Dialogue Must Be In Conflict মতবিরোধ

It’s সুস্পষ্ট obvious, সত্যিই really. Just as a description of two young lovers অতিবাহন spending a perfect day out at the zoo doesn’t সৃষ্টি করা constitute a plot একটি নাটক, উপন্যাস, চলচ্চিত্র, বা অনুরূপ কাজের প্রধান ঘটনাগুলি পরিকল্পিত এবং একটি আন্তঃসংযুক্ত ক্রম হিসাবে লেখক দ্বারা উপস্থাপিত। (not unless the girl falls in the lion অবরুদ্ধ অবস্থা enclosure!)… so two people গালগল্প করা chatting about nothing much at all (and not disagreeing নারাজ with each other, either) doesn’t constitute dialogue.

Pleasant হাসিখুশি conversations are great in real life. Even if nothing especially বিশেষত interesting gets said, who doesn’t like chewing চিন্তা করাthe fat with a neighbor over the fence প্রতিরক্ষা or a friend over coffee?

Listening in on those conversations, as a third party, would be about as exciting উত্তেজনাপূর্ণ as watching লন্ড্রি laundry dry. So make sure you don’t subject your readers to বিরক্তিকর tedious, হাই তোলা yawn-inducing dialogue in your novel.

How do you অবতরণ ramp up the উত্তেজনা excitement? সহজ Easy…

Give the two characters conflicting goals – one of them wants one thing, the other something else. এমন কি Even if it doesn’t end in a shouting চিৎকার match here and now, the অবলম্বনস্বরুপ underlying কঠিন টান tension will be all you need to keep the readers turning those pages.

To ব্যাখ্যা করা illustrate that, take a look at this example…

“What are we having for dinner?” asked Jane.

Bill opened the fridge, স্থানান্তরিত shifted the milk to see to the back. “How does মাংসের ফালি steak sound?”

“Sounds great.”

“There’s chicken if you prefer,” he said.

“No, steak মাংসের ফালি is fine. With ভর্তা করা mashed potatoes.”

A perfectly nice conversation, the kind we all have everyday – but ব্যর্থ hopeless for the purposes of novel writing. Add some conflict into the মিশ্রিত করা mix, যদিও though, and it might look something like this…

“What are we having for dinner?” asked Jane.

Bill opened the fridge, পিছনে দেখতে দুধ স্থানান্তরিত shifted the milk to see to the back. “How does মাংসের ফালি steak sound?”

“What, again?”

“We haven’t had steak since last Saturday,” he said.

“I know. And the Saturday before that and the one before that! Don’t you ever fancy something different, Bill?”

Much more interesting. Why? Because the dialogue is in conflict. Jane wants one thing and Bill wants something else…

Bill wants to stick to the same old routine.

Jane wants some উত্তেজনাপূর্ণ ঘটনা adventure in their relationship.

And when characters have conflicting goals, ফলাফল উপন্যাস পরবর্তীতে অনুসরণ নিশ্চিত করা হয় consequences are sure to follow later in the novel.

Of course, there is nothing wrong with having some everyday conversation in a novel. The rules of dialogue are there to be broken. ,  along পাশাপাশি with every other kind of novel writing rule,

Sometimes a simple exchange of information between characters will be ঠিক exactly what is required.

But for the most part, go for tension and disagreement and conflict between the characters. Besides, writing dialogue is much more fun that way!

2. Dialogue Must Have a Purpose উদ্দেশ্য Even if a passage ছোটোখাটো ঘটনা of dialogue in your story is full of juicy রসপূর্ণ conflict, you still may need to delete it

if it’s not সেবা serving a storytelling function. If the কথাবার্তা speeches in the novel don’t meet at least one of the following মানদণ্ড criteria, they should be cut.

i) The Dialogue Should Drive the Story Forward সামনের দিকে

Conversations in the real world often have little or no point to them, with the circumstances of the people involved remaining unchanged at the end.

Your dialogue, therefore, should advance the plot in some way.

How will you know if it does? Ask yourself these questions…

Will the story still make sense if the dialogue is removed? If it can be removed without leaving a missing link in the character’s journey towards his or her goal, scrap বর্জন করা it.

Does the dialogue increase the suspense for what is to come? If a character says something which causes the reader to worry about the nature or the outcome of an upcoming event, it should stay.

Does it change the character’s situation, for better or worse? Do they receive some good or bad news which leaves them closer to their goal or further away from it? If so, it is moving the plot forward.

Does the dialogue shed পতিত some light on what the character wants? Anything which makes a character’s goal clearer is good and should remain – as should anything which makes their motives (or why they want to achieve their goal) clearer.

Does it serve পরিবেশন করা to strengthen শক্তিশালী the character’s সমাধান করা resolve, or perhaps সম্ভবত weaken দুর্বল করা it? Are they told something which makes them wish they hadn’t bothered বিরক্ত করা to set out on this quest অনুসন্ধান in the first place – or make them glad আনন্দিত that they did? Either উভয়ের যে-কোনটি one is good.

I’m sure there are প্রচুর পরিমাণে plenty of other criteria মানদণ্ড to use, but they give you the idea. 

If a conversation is in some way related to a character’s goals and conflicts (which you can read about in the section on Plotting a Novel), it’s moving the plot forward.

If the characters are talking about nothing important, the dialogue is filler and should probably be removed.

Note, though, that some “pointless অর্থহীন conversation” in a novel is good. After all, you’ve got keep the dialogue আসল authentic – and we all talk about the weather or what we want for dinner.

Keep the chit-chat to a minimum, though. And always ensure that, if a passage of dialogue starts out being about nothing of any importance, it quickly gets to the point.

“The dialogue is generally the most agreeable মনোরম part of a novel, but it is only so long as it tends পরিচর্যা করা in some way to the telling of the main story.”

– Anthony Trollope

ii) The Dialogue Should Characterize বৈশিষ্ট্য প্রকাশ করা

Just as advancing উন্নতি the plot is one way of giving dialogue a purpose, so too is adding to the readers’ understanding of a character’s ব্যক্তিত্ব personality.

So maybe the speaking character tells whoeverযে কেহ is listening about a formative রূপদানকারী event from their childhood, or about their love for their family pet, or about their dreams for the future.

These revelations might not affect the plot, might not be important for the telling of the story at all. But they help to explain ব্যাখ্যা করা the character’s motivation for wanting whatever it is they want. And doing that not only helps us to get to know them better (which is never a bad thing), it also gives us a greater insight অন্তর্দৃষ্টি into why, সঠিকভাবে precisely, they are chasing শিকার their goal.

One other thing worth গুরুত্ব mentioning…

Dialogue is one of the most important tools there is in demonstrating প্রদর্শক the relationships between different characters.

The way two people speak to each other tells you virtually বস্তুত everything there is to know about how they get along. And demonstrating this to the readers, particularly the relationships between the major players in the novel, certainly gives dialogue a purpose.

iii) The Dialogue Should Provide Information

What kind of information? Anything that is crucial অত্যন্ত গুরুত্বপূর্ণ to the understanding of the story. Let me explain that…

Every novel has plenty প্রচুর of “dry facts” that the reader needs to learn…

an important moment from the character’s childhood

a brief history of the town শহর in which the novel is set

and so on.

Details বিস্তারিত that are not a part of the story but are nevertheless important for understanding it are known as উদ্ভাস exposition.

The key চাবি to প্রদর্শন exposition, which always runs the risk of boring the readers (and make them skip ahead), is to present it to them in কামড়-আকারের টুকরা bite-sized pieces. This makes the potentially সম্ভাব্য dry facts more palatable সুস্বাদু and doesn’t significantly উল্লেখযোগ্যভাবে disrupt চূর্ণবিচূর্ণ করা the forward momentum ভরবেগ of the novel.

And guess what? Dialogue is one of the best methods there is for getting পেয়ে information across in a bite-sized দান্ত দিয়া ফুটা করা আকারের way. Heck, if you do it skilfully নিপুণভাবে enough, the readers won’t even know what is happening!

Just beware of characters telling each other things that they already know. A husband, for example, would never say this to his wife…

“Mary, my sister, had to take Florence, their miniature poodle, to the vet পশুচিকিত্সক again.”

The wife will already know that her husband’s sister is called Mary, and that Mary owns a poodle called Florence. Information like that is there solely for the benefit of the readers, and it makes the dialogue sound horribly ভয়ঙ্করভাবে stilted অলংকারবহুল. So don’t do it!

And that’s it: three ways to make sure that every line of dialogue you write has a purpose.

Once you’re satisfied সন্তুষ্ট that you are  advancing উন্নতি the plot, characterizing বৈশিষ্ট্য or providing information, you can stop worrying about if it “belongs জন্যে” and concentrate কেঁদ্রীভূত করা on all the other rules for writing good dialogue…

3. Dialogue Should Flow

“When something can be read without effort, great effort has gone into its writing.”

– Enrique Jardiel Poncela

Actually, all writing in a novel should flow effortlessly. With dialogue, though, it is doubly important. The conversations need to read effortlessly and look good on the page. There are three ways to achieve this…

i) Watch How You Use Dialogue Tags আপনি সংলাপ ট্যাগ ব্যবহার করে দেখুন

You know what dialogue tags are – he said, she said and মত the like.

They’re useful little things. But beware of overusing them. Conversations in a novel will sound like games of ping-pong if you have a tag after every single line…

“Hello,” said Frank. “How are you doing?”

“Fine,” said Mary. “I hear you’re getting married.”

“That’s right,” said Frank.

“When’s the big day?” asked Mary.

“Next week,” said Frank.

On the other hand, beware of using too few tags as well. Why? Because there’s nothing more annoying বিরক্তিকর for a reader than having to count back lines to work out who is speaking.

Another trick is to stick to the simple tags – like said and asked. Using tags like exclaimed or interjected or screeched খ্যানখেনে makes the dialogue sound অপেশাদারী amateurish.

Adverbs make it sound amateurish, too (as in, “Mary said ব্যস্ততাসহকারে excitedly“). If you want to demonstrate প্রদর্শন Mary’s excitement, describe her fidgeting স্নায়বিক অস্থিরতায় ভোগা in her chair or bouncing on the balls of her feet while she speaks.

(Click here for a deeper dive into dialogue tags.)

ii) Vary the Length of the Lines

One important rule of novel writing is to keep the readers reading. Duh! Boring them is likely to have the opposite effect, which is why it’s so important to make your passages of dialogue flow beautifully.

Here is why varying the length of the lines matters…

if Character A says something using half a dozen words

then Character B replies using a sentence of the same length

then Character A says something back using another short sentence

…it can all sound a bit same-ish. A better conversation would look like this…

Character A says something.

Character B replies using a longer sentence. Maybe a couple of them. Or even three.

Character A just shrugs অসহায়তা here.

So Character B says something else, something long again that goes on and on and on…

Until Character A cuts them short with a quick one-liner of their own.

That’s not a প্রতিচিত্র blueprint, of course – just one “top of the head” example of how to shake up your dialogue.

iii) Don’t Have Characters Talk In a Vacuum শূন্যস্থান: অনেক প্রয়োজনীয় রচনাংশ এটি উপন্যাস ও অভিনয়ের জন্য:

It’s very rare for people to talk and do nothing else. Often, they have conversations while cooking the dinner or trying to fix the ঘর গরম করিবার যন্ত্রবিশেষ radiator.

Even when they are “just talking,” they’re usually doing something – drinking coffee, watching the world go by, whatever it may be. To help your dialogue flow (and keep it authentic খাঁটি), you simply need to mention these everyday, insignificant নিষ্ফল actions…Chopping an onion একটি পেঁয়াজ কাটা.

Taking a sip চুমুক of coffee.

Noticing the paperboy cycle by কাগজপত্র চক্র লক্ষ্য করে.

Even if two fictional characters are having a conversation while sitting still in a featureless বৈশিষ্ট্যহীন room without windows, they will still cough কাশি or scratch আঁচড়ের দাগ or pick বাছাই threads মাল্যাকারে সুতায় গাঁথা off their clothes.

Why is it important to break up the dialogue with little snippets টুকিটাকি of prose গদ্য?

Because having one line of speech, বক্তৃতা এক লাইন থাকার কারণে followed by another, then another can sound like ping pong again – even if you do vary the length of each line.

To overcome this problem, simply freeze a conversation for a few sentences while you…

Describe the sound of the rain বৃষ্টি hitting আঘাত the window or a dog barking কুকুরের ডাক in the distance. দূরত্ব

Show what one of the characters is thinking (this is called interior অভ্যন্তর monologue নাটকাদি) যে নাটকীয় রচনায় একটি মাত্র লোক কথা বলে.

Write anything at all except another line of dialogue কথোপকথন অন্য লাইন ছাড়া সব কিছু লিখুন.

This before/after example demonstrates প্রমান all of the key points to remember when writing dialogue that flows…

Before…

“What do you fancy অভিনব for dinner, Sarah?”

“What have you got?” she enquired অনুসন্ধান.

“বেশি না Not much,” Frank admitted. ফ্র্যাঙ্ক ভর্তি “I think I could stretch প্রসারণ to pasta পাস্তা, though. And there’s cheesecake চীজ কেক for dessert.”

“Cheesecake’s my favorite,” Sarah replied.

“Then later I thought চিন্তা we could catch ধরা a movie,” Frank said cautiously সাবধানভাবে.

“We could,” Sarah said. “But I’ve got a better idea.”

After…

“What do you fancy for dinner, Sarah?”

“What have you got?”

Frank opened the fridge, stood দাঁড়িয়ে on his tiptoes পদাঙ্গুলির ডগায় ভর দিয়া চলা to search the top shelf. “I could stretch to pasta,” he said. “And there’s cheesecake for dessert.”

“Cheesecake’s my favorite.”

“Then later I thought we could catch a movie.”

“We could,” Sarah said as she poured প্রবল বৃষ্টিপাত হত্তয়া the Chardonnay. Large বড় glasses চশমা. “But I’ve got a better idea.”

4. Dialogue Should Be Concise সংক্ষিপ্ত

“Dialogue is like a rose গোলাপ bush ক্ষুদ্র জঙ্গল – it often improves after pruning কেঁটে সাফ. I recommend you rewrite your dialogue until it is as brief as you can get it. This will mean making it quite পুরোপুরি unrealistically অবাস্তব to the point. That is fine. Your readers don’t want realistic speech, they want talk which spins পাক খাত্তয়ান the story along.”

– Nigel Watts

To write good dialogue, cut it to the bone হাড় এটি কাটা – and then to the marrow এবং তারপর মজ্জা. Never use ten words when five words will do. And if you can get the job done in three words – or even with a simple gesture অঙ্গভঙ্গি  like a shrugকাধ উপরে উঠে বুঝানো – so much the better. অঙ্গ ভঙ্গি দিয়ে সংলাপ বলতে হবে। যেমন মাথা একবার উপরে একবার নিচে করল।এটা লেখা সবচেয়ে ভালো হবে “না” শব্দ লেখা থেকে।

Concise সংক্ষিপ্ত dialogue isn’t realistic বাস্তবানুগ. In the real world, very few people have the ability to say what they mean without throwing নিক্ষেপ a lot of empty খালি words into the mix মিশ্রিত করা. The paradox প্রচলিত মতের বিরুদ্ধ মত, though, is that it will seem realistic. বাস্তবানুগ And it will certainly অবশ্যই be a lot more gripping for the reader. পাঠকদের  খামচে ধরে রাখা উপন্যাস মধ্যে।

Here is an example of what I mean…

Before…

“Hi, John. How are you?”

“I’m fine, thanks, Mary. And yourself?”

“Oh, I can’t complain নালিশ করা,” she said. “Actually, I’m glad আনন্দিত I bumped হঠাৎ into you. Are you coming to the party tonight?”

“I hope to, Mary. It really depends if I can get off work early.”

“Have you asked your boss?”

“Not yet,” John admitted. “McNulty’s having a bad day, to tell you the truth. His ex-wife called. She wants money again. I’m waiting to pick the right moment.”

“Is there ever a good moment with that man?”

“Sure,” John said. “Catching him somewhere between his third and fourth scotch usually works.”

After…

“Hi, John. Coming to the party tonight?”

“If I can get off work.”

“Have you asked?”

“The boss is having a bad day,” he said. “Ex-wife troubles. I’ll pick my moment মুহূর্ত.”

“Is there ever a good moment with McNulty?”

“Sure. Somewhere between his third and fourth scotch.”

Much better, right? But how do you achieve that? Here are a couple of specific things you can do…

Get rid পরিত্রাণ of most of the chit-chat খোশগল্প and social সামাজিক খুঁটিনাটি niceties. Don’t strip these things out completely, because you still want conversations to sound natural. But fictional conversations, if they aren’t to bore বিরক্ত the reader, need to cut to the chase পশ্চাদ্ধাবন a lot quicker than real-life conversations.

Don’t write in complete, grammatical sentences. Because very few people do, at least in informal conversations. “Do you want to go to the park?” sounds stiff শক্ত. “Want to go to the park?” is better.

Bottom দেহের নিম্নাংশ line? Trust your ear. Revise your passages of dialogue again and again during the editing phase of the novel writing process. Whittle ক্রমাগত কাঠ কাটা them down a little more each time until they’re perfect নির্ভুল. Then when you don’t think you can edit them any more, go through them one last time and cut out something else!

The only caveat বিচারকার্য স্থগিত রাখার আদেশ is that some people are more long-winded বিরক্তিকর/ দীর্ঘশ্বাসযুক্ত than others – in the real world and in novels…

If a character likes the sound of his own voice, don’t make him একটি শক্তিশালী হিসাবে জুড়ে আসা come across as a strong and silent type নীরব টাইপ. Equally, don’t let him ramble ঘুরাঘুরি করা on. You merely need to create the impression ছাপ of long-windedness…

One way would be to have the viewpoint character stop listening and look out the window পরিবর্তে instead. Have her describe what is happening out in the street. তার রাস্তায় কি ঘটছে তা বর্ণনা কর.Whenhe “tunes in মধ্যে সুর” to the dialogue again a couple of minutes later সংলাপে আবার কয়েক মিনিট পরে, you’ve successfully given the impression ছাপ of someone rambling এলোমেলো আলোচনা করা on without inflicting প্রদান করা the words on the readers!

5. Don’t Have the Characters All Sound the Same

Every character in a novel is অবিভক্ত unique. They all look different. They all think and act in their individual স্বতন্ত্র ways উপায়. And it should be no different with the way they speak.

Having all the characters sound the same is one of those siren সাইরেন -howling আর্তনাদ signs লক্ষণ of an amateur অপেশাদার. So you need to work hard at giving each and every character a unique speaking voice.

How? It’s actually very simple. Make sure that the words a character says are a natural extension প্রসার of their personality. And achieve অর্জন করা that by পদবিন্যাস stepping into their জুতা shoes, so to speak তাই কথা বলতে, before you try to put words in their mouth.

Here are four questions to ask yourself when trying to find a distinctive voice for each of the people in your novel…

i) Who Are They?

You will have already developed the characters before starting to write your novel. You’ll know who they are and what makes them (কোন জিনিস দিয়ে চরিএটিকে অন্য চরিত্র থেকে আলাদা করা যায়) চিহ্নিত করা tick. (And you learn how to do that, of course, in the section অধ্যায় on Creating তৈরি করা হচ্ছে Characters.)

And so, when putting words into the characters’ mouths, you must simply make those words fit their personalities. এমন শব্দ এই চরিত্রে মূর্খ থেকে বের করতে হবে যা তার চরিত্রের সাথে মিল আছে। যেমন অশিক্ষিত মানুষ ভাষা একরকম এবং সুশিক্ষিত মানুষের ভাষা অন্য রকম হয়।

The kindly old lady won’t say anything too mean. দয়া করে পুরোনো ভদ্রমহিলা খুব অর্থহীন কিছু বলবেনা

The mean old man won’t be terribly ভয়ঙ্কর kind when he opens his mouth.

The big-head will brag বড় মাথা মানুষ‌অহংকারকারী হবে.

The joker will have everyone laughing জোকার সবাই হাসবে.

The optimist আশাবাদী … well, you get the idea হ্যাঁ, আপনি ধারণা পেতে পারেন.

ii) What Is Their Personal Vocabulary শব্দতালিকা?

This means making a character’s voice fit their background and occupation…

An educated character will have more words (and fancier কল্পনাকারী words) at his or her disposal নিষ্পত্তি than a not-so-educated one একটি শিক্ষিত এক তুলনায়.

A dockworker ডক শ্রমিক will probably সম্ভবত swear শপথ more than a school teacher – and won’t care as much (or know as much অনেক জানেন) about grammar.

A physics professor will likely throw নিক্ষেপ  the odd scientific বৈজ্ঞানিক term into his or her speech.

An artist শিল্পী will have plenty প্রচুর of words to describe colors.

Note that মনে রাখবেন যে it’s perfectly ঠিকভাবে acceptable গ্রহণযোগ্য to use bad grammar and poor word choice in dialogue. It won’t reflect প্রতিফলিত করা  badly খারাপভাবে on you as a writer, because it is understood that it’s the character speaking.

একজন কম শিক্ষিত মানুষের ব্যাকারন অনেক ভুল থাকে যখন সে কথা বলে। এবং একজন শিক্ষিত মানুষের ব্যাকারন অনেক ভালো হয়। একজন শিক্ষিত মানুষের শব্দ অনেক ভালো হয়। আর একজন কম শিক্ষিত মানুষের শব্দ সাধারণ হয়।

Just don’t go over the top.

If a character’s natural way of speaking is to use a curse গালমন্দ word in every sentence, for example, you don’t need to include অন্তর্ভুক্ত করা every single one. The odd সুবিধা expletive অতিরিক্ত here and there will give the reader the idea!

iii) Who Are They Talking To? তারা কার সাথে কথা বলছে?

In real life, we all speak differently to different people, and it should be no different with a character in a novel. A tough city cop একটি কঠিন শহর পুলিশ, for example, will have…

One way of talking to his colleagues. সহকর্মীদের Another way of talking to his superiors. উর্ধ্বতন কর্মকর্তা 

And when he’s visiting his grandmother, he’d better watch সতর্ক থাকা his mouth! মুখ 

Of course, all rules are there to be broken, and having a character talk in precisely অবিকল the same way to everyone, no matter what the circumstances পরিস্থিতি demand, চাহিদা could be the key defining trait বিশেষ লক্ষণ of a character with poor social skills. দরিদ্র সামাজিক দক্ষতা

But this is the exception ব্যতিক্রম that proves প্রমাণ the rule.

6. Give Characters an Agenda সভায় আলোচ্য বিষয়তালিকা

We all enter into conversations knowing বুদ্ধিমান আমরা তাদের কাছ থেকে কি পেতে চান what we want to get out of them. And the way we often achieve অর্জন this is by broaching আরম্ভ করা a subject obliquely. পরোক্ষভাবে।

If we want to borrow money, say, we won’t say it straight out. We’ll start by asking the listener how business is or something.

সরাসরি কিছু না চেয়ে আগে প্রশ্ন মাধ্যমে পরিষ্কার হওয়া সে তা দিতে সক্ষম কি না।

তা সত্ত্বেও Nevertheless, our agenda will be there. And we’ll eventually অবশেষে steer হাল ধরা the conversation to the heart of the matter (or else steer it away from the heart of the matter if our aim is to conceal information). অন্যথায় তথ্য লুকাতে হলে আমাদের উদ্দেশ্যটি হৃদয় থেকে দূরে রাখুন

And it is exactly the same for writing dialogue for fictional characters. Two characters having a conversation in a novel will both want something, often opposing things…

A wife will want to quiz উপহাসকারী her husband about the affair ব্যাপার she suspects সন্দেহভাজন he is having, though she won’t come out and say it because she isn’t certain নির্দিষ্ট এখনো yet. Instead, she’ll ask him if he plans to be home late tonight. যদি তিনি আজ রাতে দেরী হতে পরিকল্পনা।

The husband, desperate মরিয়া to move this conversation onto নিরাপদ safer ground নিরাপদ স্থল, will start শুরু talking about his latest business deal instead. পরিবর্তে

“When characters have different goals and are intent অভিপ্রায় on achieving them, conflict results দ্বন্দ্ব ফলাফল. If the stakes পুরস্কার are high and both sides are একরোখা unyielding, you have the makings of high drama.” আপনাকে উচ্চ নাটকের করতে হবে।

– James N. Frey

7. Avoid এড়ানোর Obvious সুস্পষ্ট Dialogue

Imagine a middle-aged woman sitting at the breakfast table. Her hungover husband walks in, looking like hell. We’ll call them Sarah and David.

Here is how their conversation might হতে পারে go…

“Morning,” said Sarah. “How are you feeling?”

“Absolutely awful.” একেবারে ভয়ানক

“Could you manage some toast?”

“I don’t think I could stomach পেট it,” said David.

Sarah poured স্রোতের ন্যায় নির্গত করান him some coffee instead, with no milk, and asked him how last night had been.

“Good,” said David. “The part of it I can remember.”

Not exactly ঠিক the stuff কাপড় page-turners কুঁদকার are made from থেকে তৈরি. The dialogue fails to ring অবরুদ্ধ করা true because it’s dull and obvious এটা নিস্তেজ এবং সুস্পষ্ট. The characters in this novel say precisely অবিকল what we would expect two people in this situation অবস্থা to say.

But here’s the thing জিনিস: folks ভাবেন don’t usually সাধারণত talk that way in the real world – and in a novel they never do. Instead, they…

Rephrase ভিন্নরূপে বা অন্য কথায় lines to make them fresh তাজা and interesting মজাদার, perhaps সম্ভবত এমনকি মজার even funny.

Say the exact opposite to what they really think.

পাঠক যা মনে মনে ভাবে তার বিপরীতে করুন বা বাস্তবে যা হয় তা থেকে ব্যতিক্রম সংলাপ হওয়া উচিত। 

Try to avoid having the conversation altogether পুরাপুরি by changing the subject. বিষয় পরিবর্তন করে সম্পূর্ণরূপে কথোপকথন থাকার এড়াতে চেষ্টা করুন।

Come out বাহিরে আসোন with an outright সরাসরি lie. মিথ্যা কথা বলার থেকে।

Writing dialogue that has the ring of truth সত্য রিং to it is all about reflecting প্রতিফলিত করে এই বাস্তবতা কে this reality.

And so when Sarah asks her husband how he is feeling, he won’t say “absolutely awful একেবারে ভয়ানক” – instead, he’ll say he “feels great” ভালো লাগলো or “just zip কৃপা pity, thanks!” or he might even ignore her পুরাপুরি altogether. (Authentic dialogue is often just as much about what characters don’t say as what they do খাঁটি সংলাপ হলো   চরিত্র কি করে তা তারা বলবে না চরিত্র যা অনুভব করে তা তার কাজের মাধ্যমে প্রকাশ পাবে। 

Instead পরিবর্তে of asking David if he could manage some toast (boring!) Sarah could say, “I take it you won’t be having extra syrup অতিরিক্ত ঘন আখের রস on your ডিম ভাজা pancakes.” And when she goes on to quiz ব্যঙ্গ him about his night out, তার রাতে আউট David (not wanting to discuss it) could pretend সাজা he hasn’t heard. তিনি শুনেছেন না।

Here, then, is an improved version of the breakfast table scene… দৃশ্য

প্রতিটি দৃশ্য মধ্যে সংলাপের মাধ্যমে দ্বন্দ্ব ও পরিপূর্ণ থাকতে হবে।

“Morning,” said Sarah. “You look good.”

“Not half as না অর্ধেক হিসাবে good as I feel,” said David.

“I take it you won’t be having extra syrup on your pancakes.”

No answer, not even a glance এক পলক দেখা.

উপরে লাইনটি তার বননা সাধারণ একটি লাইন মত হবে কিন্তু তাতে কোন  “  ”  থাকবেন না।

শুধু একটি দৃশ্যে হেড লাইন হবে।

“Coffee it is, then,” she said and poured ঢেলে him a large one. Black. As she watched her husband sip চুমুক it and wince সঙ্কুচিত হত্তয়া, she asked if his watch পর্যবেক্ষণ করা had packed up again. 

উপরে একসাথে সংলাপ ও চরিত্রের অবস্থা লেখার মাধ্যমে দৃষ্টি আকর্ষন করে ফুটিয়ে তোলা হয়েছে।

Still nothing.

“Only I could have sworn শপথ you promised to be home before midnight,” said Sarah. আপনি আমাকে কথা দিয়েছে মধ্যে রাতের আগে বাড়ি ফিরবেন।

David sipped some more coffee, pulled টানা a face. “Is this stuff fresh?” এই স্টাফ তাজা।

8. Use Sub text In Your Dialogue 

সংলাপটি বলার পিছনে কারণ বলেন। মানে হলো চরিত্রে মনে অবস্থা লিখেন পূর্বে।

“Learn to listen when you’re talking to people. Listen to how people say things, to what they really mean, because people frequently ঘনঘন say one thing and mean another.” মানুষ বলে এক কথা এবং বুঝায় অন্য কথা

– Nikki Giovanni

I suppose অনুমান করা this is partly আংশিকভাবে related to the previous আগে point. But it’s worth মূল্য mentioning উল্লেখ separately. আলাদাভাবে।

One way of adding authenticity সত্যতা to a passage আদান-প্রদান of dialogue is to have characters talk about one thing… when they are actually talking about something else entirely. সম্পূর্ণরূপে।

A couple দম্পতি in a failing ব্যর্থতা relationship, for example, might argue about what movie to watch tonight, and not what is really  on their minds…

What they really believe is that they are two different people and it is time to head মাথা their separate ways.

তারা কি সত্যিই বিশ্বাস করে যে তারা দুটি ভিন্ন মানুষ এবং এটি তাদের পৃথক উপায়ে মাথা মাথা সময়।

What they actually fight about is watching the horror movie vs. watching the romantic comedy. তারা আসলে কিসের বিরুদ্ধে লড়াই করছে ভ্রমর চলচ্চিত্র বনাম রোমান্টিক কমেডি দেখছে

9. Get the Punctuation যতিচিহ্নসিন্নিবেশ Right

Last but not least, a look at the nuts বাদাম and bolts খিল লাগান of how to punctuate dialogue properly. Not a very sexy topic – but an important one to get right nonetheless তবু!

The odds মতভেদ are that you’re a keen উত্সাহী reader (most novelists are). So you really don’t need me to tell you the mechanics শিল্পী of how to set out dialogue on the page.

But if you’re unsure অবিশ্বাস্য of the answers to questions like these…

Should you use single or double quotation marks?

What do you do if a speech runs to more than one paragraph?

What is the difference between ending a line of dialogue with a হানাহানি dash versus বনাম an ellipsis উদ্ধৃতি (…)?

… check out my guide to punctuating dialogue correctly.

বিচারকার্য স্থগিত রাখার আদেশ Caveat: Don’t Be Afraid to Break the Rules

Those, then, are the “rules.” But remember, rules are meant to be broken occasionally.

If you stuck নিশ্চল করা to every piece of advice all of the time, you’d end up with dialogue that is almost too good. In other words, there’s a danger of going overboard…

Yes, you want the dialogue to sound original and witty রসিক ও বুদ্ধিমান and clever চালাক, but not for every single sentence that a character speaks. Do that and they’ll simply sound annoying. বিরক্তিকর

Yes, you want your characters to avoid awkward বিশৃঙ্খল subjects (or, when they can’t do that, to lie), but not all of the time.

Yes, you want the dialogue to be there for a reason. But কখনত্ত কখনত্ত occasionally, just occasionally, it’s okay to talk about the weather আবহাওয়া.

How do you know if you have gone too far? The same way that you assess পরিমাপ করা all of your writing: put the scene aside পৃথগ্ভাবে for a day or two and come back to it with fresh eyes.

If you like what you read and it feels both sharp and natural, it’s fine. If it strikes আঘাত হানা you as being a little too clever, it’s crossed অতিক্রান্ত the line to being too good to be true.

Stephen King’s “On Writing” – A Comprehensive Review and Summary

Stephen King’s “On Writing” – A Comprehensive Review and Summary

There are plenty of books on writing out there, mostly by writers you have never heard of and probably never will.  Stephen King’s On Writing: A Memoir of the Craft is an exception.  I had read many rave ভুল বকা  reviews about this book, so I went and got myself the audio book version for the long train rides on my latest European vacation (but ended up listening to it everywhere I went and finished it in the first couple of days).

The verdict রায়? Extraordinary.  One of the best books about writing I’ve ever come across.  5 out of 5 stars!

Nevertheless, what started off as a short post about the book has turned into the full-blown thesis below, so I apologize in advance.  The lengthy middle section on Part II though is useful for those who want an idea of what King’s views are in relation to the craft of writing.

Overview সংক্ষিপ্ত বিবরণ

The book is not a mechanical guide on how to be a better writer from a technical standpoint দৃষ্টিকোণ, though in the middle section King does discuss the fundamentals of the craft.  Stylistically শৈলীগত, it is similar to Anne Lamott’s Bird by Bird, in that it is a very personal book that discusses writing through the author’s personal stories, experiences and anecdotes, চুটকি মিশিয়ে all told with good grace অনুগ্রহ and humor.  You don’t just learn about writing techniques in On Writing – you also get to learn a great deal about Stephen King, his family, the struggles he has সহ্য endured, both pre-fame and post-fame, and what makes him tick as a popular horror novelist that has sold hundreds of millions of books worldwide.

There are essentially 3 parts to this book.  Part I is all about King’s life, and is autobiographical আত্মজীবনীসংক্রান্ত in a sense.  Part II is all about the craft of writing from King’s personal perspective.  Part III talks about King’s life after his tragic মৃতু্যঘটিত car accident that almost ended his life and writing career.  All 3 parts are equally instructive শিক্ষামূলক and compelling বাধ্যকারী.

Parts I & III– All About Stephen King

The book begins like an autobiography on Stephen King, the writer.  It starts off from his childhood and goes all the way to that first big success and then on to superstardom সুপারস্টারডম.  It’s filled with lots of little humorous tales about the outrageous ভয়ানক things he got up to.  After all, it is a memoir.

At first, I was concerned উদ্বিগ্ন – where was he leading with this?  Is the book called On Writing or On Stephen King?  I got the book with the hope of learning more about how to be a better writer, not to learn everything about the author!  That being said, King does tell his story with a lot of skill, keeping it interesting, intriguing, funny and inspiring.

Then you start to realize that it isn’t just a self-indulgent অসংযত story of King’s life.  There is a common theme running through his life, and that theme is writing.  He loves to write and he writes for the love of writing.  Like most other successful writers, King went through years and years of rejections (starting when he was just a kid).  He held দখলী ordinary jobs because he had to support himself and his family.  He struggled.

But he never stopped writing and honing মধুমাখা  his craft, largely thanks to the encouragement অনুপ্রেরণা of his wife Tabitha, who happens to also be his most loyal supporter.

King tells one of the most inspirational and uplifting stories I’ve ever heard – how his breakthrough শত্রুবূহ্যভেদ novel Carrie  আজ earned him an initial $2,500 for the hardcover rights (not much even for those times), and then how he scored a life-changing $400,000 for the paperback rights (split equally with hardcover publisher) when the most he expected was $60,000 (half of which would be his).  Not bad for a guy who would have earned $30,000 over 4 years as a teacher.

However, success manifested উদ্ভাসিত itself in strange ways, and the next section dealt with King’s fall into alcoholism মদ্যাশক্তি and drug abuse.  Amazingly আশ্চর্যজনক, some of his most famous novels were written during the darkest অন্ধতম phase অগ্রগতির পর্ব of his life.

যাই হোক Anyway, don’t be put off বন্ধ করা by the long start – King does eventually অবশেষে get to the apl of writing in Part II.  However, this first part is also very iPPnstructive.  If nothing, you learn that the path of a writer is a long, difficult, and eternal অনন্ত road.

Part III is significantly shorter.  It tells of King’s horrific ভয়ঙ্কর car accident at the hands of a loony উন্মাদগ্রস্ত ব্যক্তি driver – one that not only nearly ended his writing career but just about killed him.  I thought King showed a lot of restraint in this section – he doesn’t hurl abuse at the driver who turned his life upside down and made even simple tasks such as sitting incredibly অবিশ্বাস্যভাবে painful for him.  He merely describes what happened like a good narrator কথক (including the agonizing মানসিক যন্ত্রণাদায়ক pain he সহ্য endured) and leaves it at that.

Part II – The Craft of Writing

The second part is what most people buy the book for – King’s guide to the craft of writing.  It contains a lot of the same advice you might find in other writing books, but King adds his own personal touch and insight সূক্ষ্মদৃষ্টি from his years of experience.

Here’s a summary of some of the most salient points I got out of this section and what I thought of them.  Please note that I cannot guarantee that it is an accurate or complete reflection what is actually in the book because they are merely from scribbles I took down when listening to the audio book.  Of course, you will get much much more out of it by reading (or listening) to the book, which provides a lot of in-depth discussion and useful examples.  This is really just a personal reminder of things I need to look out for in my own writing and a critique of King’s advice.

The Elements of Style শৈলী 

First of all, get yourself a copy of Strunk & White’s The Elements of Style. King raves about this book and mentions it more than a couple of times. In his view, all writers should read this short but essential book.

I need to get myself a copy.

Characters

King’s writing style is based on characters.  In his view, stories and characters are not really created, but are waiting to be uncovered উন্মোচিত like archaeological প্রত্নতাত্ত্বিক artifacts নিদর্শন.  He usually starts his novels with just a premise প্রতিজ্ঞা and goes from there, meaning his characters and plot tend ঝোঁক to শুরু থেকে পরিকল্পিত হওয়ার পরিবর্তে উপন্যাসের উপর ফর্ম। form over the course of the novel rather than get planned out from the beginning.

It may be a viable টেকসই method but I find such an approach ঘনিয়ে আসা to likely lead নেতৃত্ব to dead ends (and I feel King might have the same problem with some of his horror novels, which have a tendency ঝোঁক to crash to a crappy ন্যক্কারজনক finish with unsatisfactory অসন্তোষজনক solutions).

Good Writing

When King talks about good writing, he is not talking about writing masterpieces শ্রেষ্ঠ or literary award winners. He’s simply talking about writing that is above competent উপযুক্ত and readable, and perhaps সম্ভবত, publishable প্রকাশযোগ্য.  In his view, there are two key criteria নির্ণায়ক to ‘good writing’: (1) a good grasp আঁকড়াইয়া ধরিতে চেষ্টা করা of the fundamentals মৌলিক; and (2) having the right instruments যন্ত্র.  These criteria নির্ণায়ক will not make good writers great or bad writers competent উপযুক্ত, but it can make good writers out of merely শুধু competent উপযুক্ত writers.

So what are these fundamentals and tools?  See below.  I should say in advance that these are things you would expect আশা করা to find in most other books on writing লেখার উপর and shouldn’t come as a big surprise.

Adverbs

King hates adverbs (you know, words that mostly end in ‘-ly’).  Loathes them.  Not that they shouldn’t be used at all, but they should only be used when strictly necessary.  On the same point, King brings up the issue of using adverbs for dialogue attribution – for instance, ‘she said slowly’.  Again, the rule is to use it only when necessary.  If the dialogue itself already tells the way in which it is expressed, then there is no need for the adverb.  King’s preference পক্ষপাত is to just use ‘said’.  However, that being said, he also admits to using adverbs more often than he should.

Personally, I admit I have a tendency to resort অবলম্বন to adverbs.  Because it’s easy.  It tempts প্রলোভিত you to use it so you don’t have to think of a better word or come up with better dialogue (in the case of dialogue attribution).  However, cutting out adverbs is something I’ve reserved সংরক্ষিত for the second draft.

Passive Voice

Another thing King frowns বিরাগ দেখান upon is using passive voice.  For example, instead of ‘he rode হয়তো গা ভাসিয়ে the horse’, using ‘the horse was ridden পড়া by the man’.  King attributes the use of passive voice to fear.  People that usually write for business purposes (like me) have a tendency to overuse passive voice.  I think I recall reading somewhere that it comes across as more professional and more objective.  Anyway, it’s another thing I need to cut out come second draft time, but I think I’ve already started to avoid it instinctively প্রবৃত্তিগতভাবে as I’ve progressed অগ্রগতির with my novel.

Grammar

It’s obvious, but grammar is crucial for good writing.  It’s something writers need to get right.  As simple as that.  There are some small exceptions which a lot of writers employ, such as the short fragments টুকরা typically সাধারণত found in writing these days (see previous sentence), but for the most part, it’s advisable যুক্তিযুক্ত to stick to correct grammar.

Don’t apply incorrect grammar and punctuation on purpose, even এমন কি when you know it’s wrong, just to be different and creative and stylish.  That is, of course, unless you are a famous writer already that people consider to be genius so you can do whatever you want (eg Cormac McCarthy).

Cut Useless Words

King believes most writers, especially inexperienced অনভিজ্ঞ writers, have a tendency প্রবণতা to put in too many useless words.  Good writing involves জড়িত cutting কাটা them out and getting to the point.

This is something I’ve struggled with all my life, even with high school and university assignments. I just can’t help myself, and I think it shows, even from this post!  Oh well, better keep moving…

Vocabulary

King has a simple tip with vocabulary – use the most appropriate word, and usually, that is the first word that comes to mind.  The only way to improve your vocabulary is to read more.  When writing, don’t stop so you can think of a better word, and don’t put in words that you don’t really know.  If you don’t know it then there is a good chance that other readers won’t know either.  The aim is to allow readers to read smoothly, and making them wonder what a word means (or having to check up what it means) runs against that objective.

I’ll be the first to admit that my vocabulary is not all that crash hot.  It stems কান্ড from a lack of reading good books throughout my childhood and adolescence.  Consequently, I do find myself struggling to find the right word at times, even if it’s for the first word that comes to mind.  As King says, however, the only way to improve is to read more!

Plot

For King, the 3 elements to a story are গল্পকথন narration, description অঙ্কন and dialogue – meaning plot is not one of them.  As noted সুপরিচিত উপরে above, King’s stories usually start off শুরু করা with not much more than a যে সূত্র হইতে সিদ্ধান্ত গৃহীত হয় premise and the characters, which he allows to let loose অযথাযথ to see where they take him যেখানে তারা তাকে নিতে.

I still have a bit ক্ষুদ্র অংশ of trouble কষ্ট fully appreciating মূল্যবৃদ্ধি করা that approach, but it’s obviously স্পষ্টত one that works for him. I do allow my characters to roam ঘুরিয়া বেড়ান free a little, but it’s usually within the confines অবরোধ of a single scene দৃশ্য as opposed to the entire story.

অঙ্কন Descriptions:

Descriptions make the reader a sensory সংবেদনশীল অংশগ্রাহক participant in the story.  The key is to visualize দৃষ্টিগোচর করা what you want the reader to experience.  However, বর্ণনা করার সময়  একটি সূক্ষ্ম লাইন যথেষ্ট, কারণ খুব বেশি বর্ণনা করার বিপদ রয়েছে there is a fine line when it comes to descriptions, as there is a danger of describing too much, which slows down the গতি ধীর করে pace, kills the imagination কল্পনা শক্তিকে নষ্ট করে and bores একঘেয়েমির দ্বারা বিরক্ত করা the reader.  I have to say I have sometimes found this to be the case with some of King’s writings.

চরিত্রে  দেখতে কেমন তা একটি লাইনে বলতে হবে। এবং চরিত্রে অন্যান্য বৈশিষ্ট্য তার কাজের ও সংলাপের মাধ্যমে ফুটিয়ে তুলতে হবে। প্রধান চরিত্রে দেহের চোখ, কান, চুল ইত্যাদি বননা দিলে যথেষ্ট। অন্যান্য চরিত্রে দেহে বননা দেয়া প্রয়োজন নেই।

King’s advice is to use your descriptions but not do too much – simply say what you see and get on উন্নতিলাভ করা with the story.  It is important to pick the right details that stand for everything else. Particularly useful is the advice to avoid পরিহার করিয়া চলা too much description on individual স্বতন্ত্র attributes গুণ of characters.  There is no need to go into গভীরতা depth on the precise যথাযথ height উচ্চতা, weight ওজন and hair চুল and eye চোখ colour of every character you come across হঠাৎ দেখা হয়ে যাওয়া. বিরক্তিকর It’s boring.  King advises writers to put down the first visualized দৃষ্টিগোচর করা details that come into your mind – the priority is to keep the ball বল ঘূর্ণায়মান rolling.

Dialogue

Dialogue is difficult to get right, and King’s advice is to let the dialogue be honest to the characters and to allow each speaker to speak honestly.

I’m also struggling সংগ্রাম with dialogue for my characters (I’m struggling with a lot of things).  It’s easy to make the mistake of making every piece of dialogue look like it comes from the same character.  I’m really going to have to put in a lot of work on dialogue in my second draft to allow the characters to distinguish পার্থক্য নির্দেশ করা themselves and stand out from each other.

Showing and Telling

Another tenet মতবাদ of good writing is to show, not tell.  This was the subject of one of my earlier posts on writing.  Of course, it’s not always possible to do that, but King believes ‘show’ should always be preferred পদোন্নতি করা to ‘tell’ whenever possible.

Personally, I’m glad খুশি to say I am starting to get the hang নির্ভর করা of this, but sometimes I wonder আশ্চর্য whether দুইয়ের মধ্যে কোনট it is better to just tell it using a simple sentence rather ইহায় অপেক্ষা বরং than showing it through pages of conversation কথোপকথন and action?

Paragraphs

King calls paragraphs the beat অতিরিক্ত পরিশ্রম করা in your head when you read, the fragments টুকরা in the prose গদ্য. It’s easy to overlook পর্যবেক্ষণ করা it, but how you structure the length of your paragraphs can be very important. King’s recommendation is to learn the beat and let nature take its course.

It’s not something I ever চিরকাল gave much thought চিন্তা to, so I found this particular part rather instructive শিক্ষামূলক.

Back Stories, Info Dumps মাল খালাস করা and Flashbacks

King says back stories and info dumps  should be kept in the back of the mind.  Also, try and avoid flashbacks wherever possible.  Of course, there are exceptions – there are plenty প্রচুর of great books with lots of flashbacks and back stories.  But the key is questioning whether it is really necessary and whether there are other more effective ways of getting the information across.  King notes that JK Rowling is particularly good at the info dump and back story retelling অন্যভাবে বলা in the Harry Potter books, so take a look চেহারা at them if you want to see how it is done well.

My own novel has its fair ন্যায্য share of flashbacks, but I’ve tried my best to control the back stories and তথ্য ডাম্প info dumps.  It’s probably সম্ভবত something best to come back to once the first draft has been completed.

Close the Door

King believes it is very important for writers to have their own private space when writing, a place with no distractions.  He recommends a regular place to write, and to close the door  when writing.  It shuts out the rest of the world and the distractions, and lets people know you are working and you are serious.

I don’t always close the door when I write, but I admit I write best when I am totally focused and not being distracted by what’s outside the window or in the next room.

Reading and Writing

Stephen King says that reading and writing is the only way to improve as a writer.  Writing is a craft শিল্পবিদ্যা  that is best learned through doing.  King puts a great deal of emphasis জোর on reading. Writers need to read in order to improve, and it’s not only through reading good literature – you can learn just as much from reading a good book (teaching you what to do) as a bad book (teaching you what NOT to do).

What to do after the First Draft

King’s advice is to complete that first draft within 3 months.  It’s probably not a realistic বাস্তবানুগ deadline for those that have day jobs and other unavoidable অনিবার্য things that consume their time.

Anyway, after completion of the first draft, however long it might take, King advises you to let go of it for 6 weeks before going back to it so you would have forgotten it.  Reading your own work with a pair of fresh eyes is extremely অত্যন্ত important.  Start writing something else in the meantime মধ্যকাল.  This I agree with, but 6 weeks can be a painfully long wait!  I’ve read elsewhere that a week or two might be sufficient, but I suppose it’s up to the individual.

When revising the first draft, King suggests you concentrate একত্র করা on both big things such as inconsistencies অসঙ্গতি, plot holes গর্ত and character motivation প্রেরণা and development problems, as well as small things, such as misspellings ভুল বানান.  Make notes about where problems are, mark up the manuscript and check your notes when revising.  Get rid of adverbs and add in clarifications where necessary.  Ask yourself whether it is coherent, whether there are any recurring elements or themes, and what to do to make those things clear.  You may need to add or delete scenes.  The key is to make the story and characters resonate with readers.

Symbolism প্রতীকীবাদ and Theme মূলভাব

For King, symbolism and themes in your novel are things that come in at the second draft stage.  They should not be things you purposely go out and put into your story.  Rather, you should focus on the story itself and when only explore অন্বেষণ করা symbolism and themes if they become apparent প্রতীয়মান when reading the first draft.

King’s Rule for Second Drafts

King’s personal approach to second drafts of novels is to tighten কসা/ আঁট করা the first draft by 10%.  So if you have a first draft of a story that is 100,000 words, try and tighten it to 90,000 words for the second draft.

In my opinion it’s just his personal approach অভিগমন and a loose আলগা guide গাইড at best because everyone will have their own preference পক্ষপাত.  King does 2 drafts and a polish পালিশ, whereas some writers need 4 or 5 drafts and dramatic নাটকীয় changes every time.  Besides, not everyone can churn মন্থন করা out first drafts that are good enough to be published just after one additional draft and a polish.

What to do after the Second Draft

King does not show anyone his work until he has completed the second draft.  This I wholeheartedly মনপ্রাণ agree with, because (especially for writing novices) it can be daunting কঠিন to ask others to read your work.  King shows his completed second drafts to 4 or 5 people.  Some say that readers should not be your friends, or else you won’t get honest feedback.  King disagrees একমত নন – he says you should be smart enough to gauge হিসাব করার নিয়ম the reactions, প্রতিক্রিয়া even if they are your friends.

I must say I agree.  It is scary ভীতিকর enough showing your work to your friends, let alone people you don’t know.  And if a friend tells me it’s ‘not bad’, I’ll have a pretty good idea that they thought it sucked চুষা.

Agents and Publishers

On agents and publishers, King says that it is not impossible to get an agent/publisher with an unsolicited অযাচিত manuscript these days, and there are ways to get into the industry.  He recommends building a portfolio দফতর, submit to magazines relating to your genre রীতি and to try and get publishing credits to your name.  He encourages writers to research the market – look through Writer’s Market to find an agent that might be interested in your type of book.  He says that it is important to go into it looking like a professional, in that you need to make sure your manuscript and query letter are done right. As he says, you cannot make agents/publishers like your manuscript, but you can make it easier for them to like your story.

Writing Courses

King generally does not find writing courses to be very helpful on the whole as the creative উদ্ভাবনী flow অবাধে বহিয়া চলা tends সহায়ক হত্তয়া to get stopped.  In fact, he’s rather critical সমালোচনামূলক of them, despite সত্ত্বেও understanding অন্তর্দৃষ্টিসম্পন্ন how they may appeal to aspiring উচ্চাকাঙ্ক্ষী writers.

Again, I find this to be a generalization মন্তব্য and not much more than a subjective view.  There are many different types of writing courses and writers – some people might need a course to get them started or give them more confidence.  I suppose what he is trying to say is not to rely নির্ভর করা on them too much or expect them to change your life.  That I agree with.

Writing For the Right Reasons

Lastly, and perhaps সম্ভবত most importantly, King tells you to write for the right reasons – for the joy and rush নলখাগড়া and excitement হুজুগ of writing – not for the money, not for success or fame, not to impress anyone.  Can’t disagree with that.  Does impressing yourself count?

Concluding Thoughts

Before I read On Writing, I considered myself a slight to moderate King fan.  For me, most of what I knew about the author came from the horror movies and mini-series adapted from his novels.  There are too many to count.  The ones that have been stamped deepest into my memory are It (thanks to which I am still not a fan of clowns), The Stand, Pet Cemetery, Sleepwalkers, Misery, Carrie and The Shining, but there are at least a dozen more.

I had only read one of his full length novels – The Dark Half – which I found to be okay.  A bit long and a bit slow.  But I did read it when I was much younger and had a shorter attention span, and the book was probably beyond my comprehension level at that age.

On the other hand, I had read some collections of King’s short stories and novellas. I found Nightmares and Dreamscapes to be reasonable, littered with some good and some bad stories.  However, my favourite King book has to be his non-horror work, Different Seasons, which includes two novellas that were made (pretty faithfully) into two of my favourite movies of all time, Stand By Me (adapted from The Body) and The Shawshank Redemption (adapted from Rita Hayworth and the Shawshank Redemption).  I found both novellas (and films) to be incredibly powerful and moving, and was amazed at what a terrific storyteller Stephen King can be, and it doesn’t even have to involve anything supernatural.

As a popular novelist, King has obviously had his critics throughout the years, but there is no denying that he can write.  Maybe not awe-inspiring literature, but he definitely has a firm grasp of the fundamentals of writing, and he can certainly tell a good story.  On Writing: A Memoir of the Craft is an instructive and insightful book, one that is filled with useful information for the aspiring writer and immensely ব্যাপকভাবে enjoyable to read (or in my case, listen to).  I would recommend it to anyone wanting to learn more about the craft of writing or just wants a good read. 

On Writing by Stephen King

The Book in Three Sentences

1. Most people have at least some talent as writers and storytellers, and that those talents can be strengthened শক্তিশালী and sharpened শাণিত with practice.

2. The writer’s original আসল perception অনুভব of a character or characters may be as erroneous ভুল করে এমন as the reader’s.

3. Stopping a piece of work কাজ টুকরা just because it’s hard, either emotionally আবেগের or imaginatively কল্পনাপ্রবণ, is a bad idea.

The Five Big Ideas

1. “Write with the door closed, rewrite with the door open.”

2. “Writing is a lonely একাকী job. Having someone who believes in you makes a lot of difference.”

3. “Put your desk in the corner, and every time you sit down there to write, remind yourself why it isn’t in the middle of the room. Life isn’t a support-system for art. It’s the other way around.”

4. “One of the really bad things you can do to your writing is to dress up the vocabulary, looking for long words because you’re maybe a little bit ashamed লজ্জিত of your short ones.”

5. “Remember that the basic rule of vocabulary is use the first word that comes to your mind, if it is appropriate যথাযথ and রঙিন colorful.”

On Writing Summary

1. Stephan believes most people have at least some talent as writers and storytellers, and that those talents can be strengthened and sharpened with practice.

2. “Write with the door closed, rewrite with the door open. Your stuff কাপড় starts out being just for you, in other words, but then it goes out. Once you know what the story is and get it right—as right as you can, anyway—it belongs to anyone who wants to read it. Or criticize it.”

3. “Writing is a lonely job. Having someone who believes in you makes a lot of difference. They don’t have to make বক্তৃতা speeches. Just believing is usually enough.”

4. The most important Stephen learned from Carrie আজ White is that the writer’s original perception of a character or characters may be as erroneous as the reader’s. Running a close second was the realization that stopping a piece of work just because it’s hard, either emotionally or imaginatively, is a bad idea. Sometimes you have to go on when you don’t feel like it, and sometimes you’re doing good work when it feels like all you’re managing is to shovel বেলচা shit from a sitting position.

5. “[Writing] starts with this: put your desk in the corner, and every time you sit down there to write, remind yourself why it isn’t in the middle of the room. Life isn’t a support-system for art. It’s the other way around.”

6. “One of the really bad things you can do to your writing is to dress up the vocabulary, looking for long words because you’re maybe a little bit ashamed of your short ones. This is like dressing up a household pet in evening clothes.”

7. “The pet পোষা is embarrassed অপ্রস্তুত and the person who committed this act of premeditated পূর্বকল্পিত cuteness বুদ্ধিসম্পন্নতা should be even more embarrassed.”

8. “Remember that the basic rule of vocabulary is use the first word that comes to your mind, if it is appropriate and colorful.”

9. “If you সঙ্কোচ করা hesitate and গভীরভাবে চিন্তা করা cogitate, you will come up with another word – of course you will, there’s always another word – but it probably won’t be as good as your first one, or as close to what you really mean.”

10. “Nouns and verbs are the two indispensable অপরিহার্য parts of writing. Without one of each, no group of words can be a sentence, since a sentence is, by definition, a group of words containing a subject (noun) and a predicate সত্য বলিয়া দৃঢ়রূপে নির্দেশ করা বা বর্ণনা করা (verb); these strings সূত্র of words begin with a capital letter, end with a কাল period, and combine to make a complete thought চিন্তা which starts in the writer’s head মাথা and then leaps লাফাইয়া অতিক্রম করা  to the reader’s.”

11. “Take any noun, put it with any verb, and you have a sentence. It never fails. Rocks explode. Jane transmits. Mountains float.”

12. “The simplicity সরলতা of noun-verb construction নির্মাণ is দরকারী useful – at the very least অন্তত it can provide a safety নিরাপত্তা জাল বোনা net for your writing.”

13. “Verbs come in two types, active and passive. With an active verb, the subject of the sentence is doing something. With a passive verb, something is being done to the subject of the sentence. The subject is just letting it happen. You should avoid the passive tense.”

14. “The adverb is not your friend.”

15. “Adverbs, you will remember from your own version of Business English, are words that modify verbs, adjectives, or other adverbs.”

16. “I insist জোরাজুরি করা that you use the adverb in dialogue attribution আরোপণ only in the rarest বিরল ঘটনা and most special of ঘটনা occasions … and not even then, if you can avoid it.”

17. “The best form of dialogue attribution বিশেষণ is said, as in he said, she said, Bill said, Monica said.”

18. “You always add ’s, even when the word you’re modifying পরিবর্তন ends in s – always write Thomas’s bike and never Thomas’ bike.”

19. “If you want to be a writer, you must do two things above all others: read a lot and write a lot. There’s no way around these two things that I’m aware সচেতন of, no শর্টকাট shortcut.”

20. “Every book you pick up has its own lesson or পাঠ lessons, and পুরোপুরি quite often the bad books have more to teach than the good ones.”

21. “Once একদা I start work on a project, I don’t stop and I don’t slow down unless I absolutely একেবারে have to. If I don’t write every day, the characters begin to stale একেঘেয়ে/ বাসী off in my mind – they begin to seem like characters instead পরিবর্তে of real people.”

22. “What you need to remember is that there’s a difference between বক্তৃতা করা lecturing about what you know and using it to সমৃদ্ধ করা enrich the story. The আধুনিক latter is good. The former is not.”

23. “In my view, stories and novels consist of three parts: narration গল্পকথন, which moves the story from point A to point B and finally to point Z; চিত্রালংকরণ description, which creates a sensory সংবেদনশীল reality বাস্তব অস্তিত্ব for the reader; and dialogue, which brings characters to life জীবন্ত বস্তুসমূহ through their speech.”

24. “Description begins in the writer’s imagination, but should finish in the reader’s.”

25. “One of the cardinal অত্যাবশ্যক rules of good fiction is never tell us a thing if you can show us.” 

সবচেয়ে ভালো উপন্যাস হলো কিছু না বলে তা দেখার মাধ্যমে চিত্রালংকরণ করে দেখানো।

26. “Everything I’ve said about dialogue applies to building characters in fiction. The job boils ফুটিয়া উঠা down to two things: paying attention to how the real people around you behave and then telling the truth about what you see.”

27. “Good fiction always begins সূত্রপাত হত্তয়া with story and progresses অগ্রসর হত্তয়া to রচনার বিষয়বস্তু  theme; it প্রায় almost never begins with theme and progresses to story.”

28. “The most important things to remember about back story (a history or background created for a fictional character in a motion picture or television program. একটি চলচ্চিত্র বা টেলিভিশন প্রোগ্রামে একটি কাল্পনিক চরিত্রের জন্য তৈরি একটি ইতিহাস বা পটভূমি।) are that (a) everyone has a history ইতিহাস and (b) most of it isn’t very আকর্ষণপূর্ণ interesting. Stick to the parts that are, and don’t get carried away with the rest.” চরিত্রে পূর্বে ইতিহাস আকর্ষণ পূর্ণ নাও হতে পারে কিন্তু চরিত্রে পূর্বে ইতিহাস একটি লাঠি হতে পারে কিন্তু তা শেষ পর্যন্ত নিয়ে যাওয়া উচিত হবে না।

29. “You don’t need writing classes or seminars any more than you need this or any other book on writing.”

30. “You learn best by reading a lot and writing a lot, and the most valuable lessons of all are the ones you teach yourself.” আপনি অনেক পড়া এবং অনেক লেখা দ্বারা ভাল শিখতে পারেন এবং সব থেকে সবচেয়ে মূল্যবান পাঠ আপনি নিজেকে শেখান। "

31. “Writing isn’t about making money, getting famous, getting dates, getting laid, or making friends. In the end, it’s about enriching সমৃদ্ধ the lives of those who will read your work, and enriching your own life, as well. It’s about উঠছে getting up, getting well, and getting over. Getting happy, okay? Getting happy.”