Fiction is one of the most prominent forms of story writings. It is also one of the predominant and one of the oldest forms of writing. In general, most of the movies and series are based on fiction. Fictional writing can be described as a story meant to entertain or carry an author’s point. In this article, let us try to understand the things which are very crucial to write a fiction using real incidents.

Before we proceed if you want to know on how to write an effective article? or want to know more on content writing, click on the highlighted words. 

The following are the crucial ingredients to write good fiction using real incidents.

1. Character: The character is one of the essential parts of fiction. As the story is fiction, you can have full freedom of the character. It is like holding one of the most powerful guns and shooting anyway you want. You can take a character, add your elements and escalate the hell out of it. 

Many of the experts suggest not to include yourself in the story. But if you can separate the experience as it is and imagine that you are sharing your experience with your rational part of the brain and stay truthful to it, you can write the best fiction. Remember, no one can narrate your story or intention better than you.

2. Theme:  As the character has a free flow in fiction, the authors tend to break the theme and go beyond it. The most important is that your character has freeflow in the story, but the theme of the story should be the same. You cannot break the walls of the theme and deviate the story from it. Stick to a theme and let the story flow.

3. Narration: This is my favourite part of fiction; you can use any narration to write fiction. You can write a poem, sonnet, first-party narration, third party narration so and so forth. Any narration can blend very well with fiction. You need to pick the one which you are good at and go with it. 

4. Relate The Story To The Reader:  It is good if we can relate the story of the character to the reader. By this, the reader gets curiosity to keep on reading and feels involved. You can relate by adding common elements in our day to day lives. Like you can create a situation when your character is driving, cooking etc., By doing this, the story feels natural and will have a good flow. 

5. Editing: This is one of the crucial parts of fiction writing. After you have finished writing and before you publish your story, take a small break. Move out of the room, relax for some time, come back and read it from a readers point of view. By doing this, you can remove or add elements to your story. This improves the quality of the story in all the ways possible. It also acts as a proof reading for yourself so that can make necessary changes for the story.

If you follow the above described elements correctly, you can write one of the best fictions possible. 

I was walking along the road with two friends. The sun was setting – suddenly the sky turned blood red. I paused, feeling exhausted, and leaned on the fence, there were blood and tongues of fire above the blue-black fjord and the city. And my friends walked on, and I stood there trembling with anxiety, and I sensed an infinite scream passing through nature.

And that is how Edvard Munch describes what he felt while drawing the infamous painting, The Scream (1893). He saw the sky turn blood red, and he felt anxious. If you can see the artwork, the first thing that comes to your mind is ‘anxious’. The art flaunts out, speaks out anxiety; everything about that piece of art communicates some fear.

Edvard Munch describes this about Oslo, in Norway. There was a lunatic asylum near that location which admitted his sister for her disorder. Many interpretations tell that it was this asylum that he referred when he said: “scream passing through nature”. He describes how he felt anxious when he was looking at the blood-red sky. Many thought the blood-red sky was just a metaphor.

Historians explain that a nearby volcanic eruption causes a dramatic red sky in Oslo for a few days. The red sky he saw might be in one of those days. And it is only natural to feel anxious after looking at something unnatural. But if you look closely at the figure that is in the painting. It is screaming, now that figure is metaphorical. It is in-human and looks something close to what we call a ghost.

This figure might represent nature in a personal form. The personification of his feelings when he passed that area made this painting necessary. It is a crucial artwork in history because it is prominent for the movement: ‘impressionism’. People consider Edvard Munch as an expressionist artist, but this specific work is impressionistic. 

Impressionism was an art movement in the 19th century. The impressionist artists chose to draw or make a piece of art not by merely depicting something as it is. They would instead create an impression that had been in their minds while looking at the specific inspiration. You can see how it fits the profile of The Scream!

Many historians also claim that it was not just a lunatic asylum that felt like a scream of nature, but there was also a slaughterhouse nearby.

Later in life, Edvard Munch stopped consuming meat and felt it was cannibalism. He, however, continued to eat fish, but he was outspoken about turning vegetarian. ‘Vegetarian cult’ he called it. Historians related his thoughts on vegetarianism from his early ‘Scream’ days and said the ‘scream of nature’ might also refer to the screams of animals from the slaughterhouse. 

It does make sense to think of it as the screams of animals because, in his later life, Munch describes eating animals is cannibalism and they are our cousins, brothers, sisters and aunts. He is against the idea of eating closer relatives such as animals, and he supports eating our distant relatives who share different anatomy to us, the plants!

Both interpretations have something in common, the scream—screams of lunatic patients and animals from butchery. Both are innocent; they have committed no crime to suffer such punishment. It is humans that mistreat people with disorders and animals for food. The setting seemed odd, slaughterhouse one side and the lunatic asylum on the other, and the blood-red sky. It was a scream of nature; man, animal, sky, plant and everything around screamed at that moment in his mind.

If he drew this as ordinary landscape painting depicting it as it is with regular people on the bridge, asylum and slaughterhouse on either side, would it have created such an impact? Would you feel anxious when you look at it? Would you understand the scream of nature? You would need some description to figure out the motive behind the painting if it was an ordinary landscape.

It is because of the impressionistic choice he made to personify the scream, to draw the sky wavy in a surreal way, and that makes us feel anxious to look at it. It is as if it was his anxiety that he put into the work, and it transmits to everyone who looks at it. Such is the beauty of Impressionist and Expressionist arts. It is not merely capturing the movement as it is, but it is capturing the feelings that come with the moment and scenery that makes a painting and artistic painting!

Kanyadaan, meaning giving away a daughter. For most of you who don’t know what Kanyadaan is, here it is, in simple words. Kanya means Woman and Daan means Donation.

A ritual of stupidity!?

Kanyadaan is a ritual, a tradition that is being followed since ages. I ask why does this ritual even exist?
Sometimes, I feel like, in the name of marriage, a daughter is sold forever. But a father doesn’t want to donate his daughter. He ties her into the relationship of love & respect with her better half. It shouldn’t be about bidding goodbye to the daughters, instead, it should be a happy moment, as it is said: “shaadi do logo ki nahi, do parivaar ko hoti hai.”

That means everything gets double now, it’s a double offer – two families, two addresses and lots of happiness. Then why the ritual of “Kanyadaan”? I don’t believe in such ritual because women are not objects & marriage is not a charity. Objectifying women has not been rare, and making her a gift is nothing to be surprised of as well. But what surprises me is the fact that this ritual is still in practice, unquestioned.

The world has evolved!

Times have changed, women are getting educated, achieving their dreams, contributing to family finances, taking care of their parents and fulfilling many other responsibilities. Then what is the logic behind still continuing with the rituals like Kanyadaan? I believe, a ritual is just a matter of time and with time rituals should change as well. The ideology of carrying them through generations makes no sense because when we evolve through generations, it means our ideologies should evolve too.

I understand that there is respect towards traditions, no matter how much we grow in life. But if the tradition lacks the logic then why should we follow it. There were also rituals like Sati Sahagamanam which asked women to burn in the fire of her man’s pyre in the death funeral. Out of people’s stupidity, for many eras, it was considered a tradition. But with time, people like Raja Ram Mohan Roy fought against such foolish rituals. I guess, he was that age’s feminist! And eventually, in British rule, they banned this ritual. In the same way, we should be able to understand the traditions that involve stupidity and fight against them.

Fight for yourselves!

Questioning and shunning these rituals will serve a very strong purpose of taking away the religious and moral sanctions that come in the way of providing ourselves with the social settings that we know are logical and justified.

I strongly believe, and urge every girl who finds herself out of her traditional roles, who sees herself at par with males, that she must question these kinds of rituals, “Kanyadaan” in particular. Because no one will come and fight for such things, you should do it for yourself. There are more pressing matters to address and fight for one. With evolving generations, we should understand that it is high time to stand up for ourselves rather than expecting someone else to do so.

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