Today’s guest post is by Ethan Miller.
When does one call oneself a columnist?
Some might say the designation of columnist should be reserved only to those who have their mentions reproduced on the move of a work. Some others might consider themselves scribes when they write something of great importance–something that they are proud of.
If you ask me, any person who is wastes hours honing their writing sciences through routine rehearsal is a writer. Anyone who looks for ways to constantly improve their writing prowess deserves to be respected as a writer.
While I do not have my call etched on the spine of a volume more, I rehearse writing routinely and perpetually look for ways to become a better writer.
I found that reading literature written by renowned columnists and playwrights is one such style to develop my plane as a scribe. Reading classics can assist you separate the shackles of traditional legend licks and provoke “youre going to” realise brave choices as a writer. The insatiable reader in me rushed with rejoice when I discovered that immersive learning further strengthen my writing skills.
In this berth, I would like to share some of my writing takeaways from construe timeless classics. To keep it simply, I simply want to stress the significance of reading the works of enormous novelists to sharp your knowledge as a writer.
Here are 5 inspiring things I learned from 5 classics 😛 TAGEND
1. Don’t be afraid to write unlikable central characters: We tend to look for good in people. Books root for characters who are morally unshakable, strong-willed, or funny at the very least. J. D. Salinger rewrote the conventions of writing adorable central characters by creating an unlikable booster in The Catcher in the Rye.
Holden Caulfield is immature, unstable, erratic, and downright irreverent and indifferent to things happening around him for most of the novel. He is everything a conventional “likable” protagonist is not, but readers still reverberate with his persona as he illustrates the reality of many young boys and girls in this materialistic postmodern world. Salinger causes the book step a mile in Caulfield’s shoes and increase some revelation into his perturbed soul. The Catcher in the Rye educated me to let go of the ideal protagonist and make my central characters breathe as real people should.
2. Explore the whole truth by showcasing two sides of the same coin: Every story has a hero and a criminal. And sometimes they are the same person. All you need to do is look at things from a different perspective. In Mary Shelley’s Frankenstein, the lines between the very best and the misfortune are blurred as readers get a glimpse of the two sides of the same story.
At first glance, you sympathize with Victor Frankenstein as the ogre he formed has created havoc into “peoples lives”. But when you investigate things from Frankenstein’s monster’s perspective, you understand the feeling of abandonment, separation, and fury of those excommunicated by the society. The empathy you feel for the demon is what sees this novel a repugnance classic. My biggest takeaway from Frankenstein is that a writer needs to uncover the whole truth and never write from a biased perspective.
3. Social commentary is not an afterthought but the crux of a narration: In my initial writing exertions, I always determined my characters needing an feelings magnitude or the story to be unidimensional. I started looking for ways to infuse my legends with social commentary by forcefully adding a few subtleties now and there.
Needless to say, it never turned out well, and it obliged me to throw many potential tales down the drain. And then I predict Animal Farm. George Orwell’s dystopian short novel tells the story of the rise and fall of national societies of farm animals rebelling against humans.
It seems silly to write a serious piece of story about talking farm animals, but it turned out to be a masterstroke, as Orwell’s political story appealed to readers. His social commentary on idealism, welfare, power, and sin directed chiefly because it was not an afterthought tossed into the story to add “depth” or ”layers.” Orwell’s social commentary was at the front and center of the legend, driving the narrative forward. As a columnist, I learned to create a story that originates from my social and political beliefs and not the other way around.
4. A good columnist has only one open subconsciou and is never indifferent to others’ vistums: We live in the era of social media where we go to great lengths to find those who conform with our biases. A difference of opinion is just not acceptable anymore. Amicable discussions have been replaced by heated debates.
Writing in these times can be a traumatic know-how, as a scribe may not be able to even listen to a different point of view, let alone constructive criticism. I read Fahrenheit 451 when I was going through a chapter when criticism would feelings me, and I would find faults in others’ opinions. And then something changed.
I reverberated with Guy Montag, and his person arc educated me to always deter an open subconsciou as a scribe. From being indifferent toward all the persons who hoarded works and literature against the law to actually fighting for his intellectual freedom, Guy Montag’s metamorphosi impres a chord with me. It learnt me to keep an open judgment as a scribe and be responsive to minds that did not is commensurate with mine.
5. There is a method to the madness: Quirky people are a lot of merriment. They have their peculiar features, they are changeable, and they can articulated a brand-new twirl to any circumstances of this case. Writing quirky attributes is a double-edged sword. They can induce the proceedings agitating but are also welcome to caused the planned meander into sidetracks. It was only after reading Shakespeare’s Hamlet that I detected there is a method to the madness of eccentric characters.
Hamlet might come across as unhinged in the toy, but there was always a contrive in the back of his mind.
I am not implying that quirkiness should be feigned or put on by references. To introduce it simply, a columnist should know why a character reacts in a singular way. Scribe should know the backstory of eccentric personas so that they can reign in the craziness when the fib starts to slip away.
These are some of the writing assignments that I comprehended by reading and rereading classics in the last couple of years. As I continue to read and write regularly, I hope to learn more nuances as a writer and fertilize my writing with masterpieces pass away by prolific columnists of the past.
You can do the same!
Share in the comments the# 1 classic story you’ve read that influences the style you write your stories.
The pole 5 Insightful Things a Writer Can Learn from 5 Timeless Classics first appeared on Live Write Thrive.
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