To know how to read the student is taught to write. To know how to write the student is taught to read.
The basics of the stroke of a crayon, pencil or pen in our early years tells us how to properly begin the story. They start with the article ‘The’.
‘The boy’ as the subject.
‘The boy ran’ as the subject doing something, in this instance [always] going somewhere in a forward direction.
‘The boy ran home’ as the subject going somewhere thought to be pleasant.
The students are asked to write a forward thought as well. Why is the boy going somewhere pleasant? Is he anticipating something? Yes, he is anticipating to play, to eat, to do whatever that kid is concerned with more so than the lesson. Or so one may think as we were kids once but never overanalyzing kid-like thoughts.
That’s the basic of how to write stories, and we continued to write stories that way until told otherwise. Or until told that the subject is someone else imagined.
I’m typing this, rather, to explain my short trip to the bookstore. There I go to scan thoughts, phrases and ideas to soak in and to practice on my own. As well as I’m there I am always to read the preface, introduction or the very first chapter or sentence of the first or second paragraph of a thought. In those ‘firsts’ I gather the subject that the writer is to expound upon. As well, how the writer introduces the subject.
I have come across that great stories or stories that are to mimic those that are great-it’s alright the first article ‘The’ was writen once before in billions of writings-begin either with a scene doing something or a person or thing doing something within the scene.
For instance, the scene set in the time of marshes, raindrops left on the petals over night and fog is telling the story of a fantasy, of a crime or of horror. Some great writers write this scene to tell something about nature. What is its overall significance to the subject, the plot, or even the conclusion? Does this scene have meaning or is it simply the beginning? That all depends on how the writer describes the scene and how the writer writes-specific or overly detailed. Most importantly how well the writer may write.
The second instance being that the subject is either thinking, speaking, or the writer is speaking of the subject. Toni Morrison writes a poetic version of the writer speaking of the subject’s scene and viewpoint. Others like George R.R. Martin may write of a fantasy subject thinking then to explain why that subject thinks that way. Who knows what a ‘warg’ is and may do besides him? It’s the way in which the writer describes the subject that may captivate the audience to read more.
The ability to imagine too, to identify with the subject or scene allows the reader to continue reading.
There requires no sophistication in word choice as the Victorian writers. There requires no complexities in sentencing structures, just the ability to connect with the reader. The ability to describe in a way that captivates your audience.
The story simply has to be interesting to the imagination, intriguing to the mind.