Story writing involves

 

Writing any good story is a religious activity, even those that are anti-religious.

The differences between good stories and great stories, as well as good writings and great writings, are many; again, that is religious.

The greatness of Mahabharata and Ramayana is religious, not because of the main characters. 

The meaning of the word "religion" in the above three sentences is all about links, connections, and relationships.

For example, if you take the Ramayana, there will be some link or links, even remotely, of every character, action, event, and happening to the whole story in some way.

Etymologically, the word "religion" is derived from the two latin words “re” and “ligare” which means “to reconnect” 'Ligare' incidentally is the root for words like link, liaison etc.

 

Religion is meant to connect the individual soul with the universal soul, individual life as part of the complete life of the cosmos.

 

 

But then, how is it possible when the idea or seed of a story emanates out of some strong emotion, imagination, impact, or creative idea and is pursued with passion? Are these paradoxes or different facets of life?

 

Passion and emotion are two aspects of feelings that gush forth in massive flow imbued with intensity, impulse, imagination, and creative and romantic instincts, and therefore there are bound to be aggressions, roughness, and turbulences.

 

So, how can one ensure polishing rough edges?

How can one chisel and carve logical links as it can be done in something that is solid but not something that is fluid and flowing?

 

Or do the links emerge automatically through some inherent attributes creating patterns leading to synergetic wholeness?

 

There could be multiple factors on display, as life is inherently a dynamic, multi-faceted splendor with various dimensions, and every dimension proliferates through its interactions with other dimensions dynamically, and all of these happen in the churn that happens in the cauldron of the environment.

 

However, this whole display of ‘drama of life’ unfolds in the specific context of time and space—the two predominant factors through which human perception operates.     

 

When this drama of life is absorbed with total intensity and intense totality, then a story is created with a philosophical frame of mind with openness to seek and to search for meaning and purpose, and then the links do emerge, revealing the reasons starting from simple cause and effect to a multitude of other reasons.

 

Whereas, if the story is manufactured to push an ideology or doctrine or agenda, then one must come up with contrived justifications to pull towards the ideology in the place of naturally evolving rational links.

 

Now herein comes the necessity to know the difference between philosophy and ideology.

 

Once , these factors are understood with clarity, then next important step comes into play the deft handling of the tools of the medium paying  all possible attention to subtle nuances effectively to create  aesthetic appeal and  impact.

 

If it is  writing, then the appropriate use of words and handling the language.

If film, the use of visual impacts.

If music, then the structure of sounds etc.

So, a comprehensive command and control over the medium is equally important.

 

Overall, the tone and tenor must be around a philosophical outlook-based perception or reaction with contextual relevance, historical and cultural perspective with authenticity in all aspects if it is a serious novel or non- fiction or even a semi-fiction.

 

If it is fiction, then one is at liberty to throw all caution to the winds and freely narrate the story for example a modern-day Seetha’s Swayamvaram will be choosing a person based on his salary, wealth, position, grooming  etc in tune with the trend.