Creative Writing

From Creative Writing: A Beginner’s Manual

– Anjana Neira Dev, Anuradha Marwah (Pg. 94-147)

Fiction

Ø Fiction (from the Latin fictio, ‘a shaping, a counterfeiting’) is a name for stories not
entirely factual but at least partially shaped, made up, imagined (Kennedy 1991).
Ø However, fiction cannot be merely defined as a story that is not ‘true’.
Ø It is not as though fiction has nothing to do with reality.
Ø The relationship of fiction with real life events is not a straightforward one.
Ø Fiction needs to relate to real life but not necessarily through ‘facts’.
Ø As fiction is more about insight into life and events than about facts, works of
fantasy are also classified under it.
Ø We read fiction both for pleasure and instruction but the kind of instruction fiction
imparts is different from that provided by books of history or sociology.
Ø In fiction also there is a mixture of facts and imaginative elements.

Non-fiction

Ø Non-fiction is defined by its fidelity to facts

Ø it may occasionally touch the borders of journalism.
Ø Fiction, on the other hand, is a looser category that embraces both facts and fiction.
Ø Many autobiographical novels that are based on ‘facts’—like D. H. Lawrence’s Sons
and Lovers—are classified under ‘fiction’.
Ø In recent times ‘creative non-fiction’ has emerged as a separate category of creative
writing. As the nomenclature suggests it deals with real life events narrated
imaginatively.
Ø Even the way history is written has elements of fiction, in terms of what is chosen
and what is not
Ø Even in biographies there are exaggerations
Ø Even in memoirs - memory is not always exact, when we narrate something or in
order to narrate something some element of imagination is required to string things
together.

Literary and Popular fiction

Ø Popular and literary overlap and intermix.

Ø A popular text may well elbow its way into the literary category (Jules Verne’s work
is a classic example); a literary text may be a bestseller (Toni Morrison’s Beloved).
Ø Elements of the popular may be present in literary and vice versa.
Ø Yet the distinction is worth making, if only to remind us that there can be no fixed
rules for fiction.
 Ø Popular literature needs to sell. When publishers package texts as popular they have
the mass market in mind. The following have a vibrant market:

Popular romance: Love stories. Like Mills & Boon.

Chicklit: Emerged as a distinct genre in the 1990s with the publication of Helen Fielding’s
Bridget Jones’s Diary. About young women in metropolitan settings. Airy and irreverent in
tone.

Science fiction: Usually futuristic; called Sci-fi. Inspired by science and technological
advancements. Like Arthur C. Clarke’s novels.

Writing for children: Like the Harry Potter series.

Thrillers: Novels with action heroes. Like the James Bond series.

Detective Fiction: Crime stories with detectives who solve the mystery; sometimes called
‘whodunits’. Like Agatha Christie’s novels.

Ø The sales of such books—even without the help of positive critical reviews—are
astronomical.
Ø Gone with the Wind (Margaret Mitchell) published in 1936 is a good example. This
mother of all modern romances, often derided for its ‘unremarkable’ prose by the
literary establishment, had sold 28 million copies by 1993.
Ø Some critics call popular fiction formula fiction or genre fiction although writers
and publishers deny that there can be a formula to popular fiction.
Ø formula is indeed central to popular fiction, as is the related concept of the target
readership.
Ø For example Romance (Formula: boy meets girl; there are problems; problems are
resolved through ‘true love’) is targeted towards women.
Ø We must not make the mistake of underestimating the importance of popular
fiction.
Ø The sheer number of readers popular fiction attracts makes it a significant
marker of culture.

Summary

Popular Fiction

1) Plot is very important - a lot of things happen all the time - keeps you interested.//
in literary fiction, often very little happens by way of action
 2) Formulaic - Success formula of boy meets girl, vampires, rich boy poor girl or vice
versa
3) Repetition - Accused of repeating plots shamelessly for sales
4) Characters - Flat or stock figures/ same set of attributes - in Literary fiction
interiority is given more importance - layers are peeled back
5) Setting - in popular fiction may be metropolitan, either very familiar as to be
extremely relatable without having to think, or Exotic locations, or places to which
you can escape - like Harry Potter etc. - In Literary texts - setting may be very
ordinary but the unfamiliar within it may be brought out by the writer - or it can
be exotic but it becomes a character like Wuthering Heights moors.
6) Language is plainer in popular lit// whereas in literary fiction - every word is well-
picked, it has a function, full of meaning.
7) Dialogue - plenty of dialogues - they move action forward, ordinary language,
everyday speech // Literary fiction relies more on descriptions, stream-of-
consciousness etc - may seem boring to some.

Short Story

• Short story: A work of at least 2,000 words but under 7,500 words. (1,000 words

minimum by some definitions). (also 1000 - 15000 words// 3-30 pages long)

• Flash fiction: A work of less than 2,000 words. (1,000 by some definitions). (750-
1000/1500 words).
• Micro Fiction - less than 400 words, some say less than 100.
• It is not just a shorter novel, it is an art form in itself - requires great skill
• Single effect, single vision, carefully chosen words not enough space to waste etc.
• single plot - appropriately chosen.
• Some may complain that differentiating between forms like novella and novelette or
flash fiction and short story would be to indulge in making distinctions without
difference; and that the epic is a misnomer where bestsellers like The World
According to Garp (John Irving) are meant. But the classification is useful for new
writers who are trying to decide the ideal length of their fictions or for those who are
looking for publishing avenues. The difference between short stories and novels is not
only about the number of words. The stylish works of Chekhov, Joyce, Hemingway,
Faulkner, etc. have given a distinct identity to the short story. The short story today is
a sophisticated literary form.
• Just as we take in a painting all together with our eyes, similarly the mind takes in a
short story all together in one sitting.
• The ‘single effect’ that the story wreaks is inevitable because of its shortness. In the
space of less than 7,500 words the writer would have to be very discerning about what
to include.
• Far from being an unfinished novel the short story is a complete whole; it is highly
polished; it makes an intense and immediate connection with the reader. In the present
 time the short story is celebrated as an evolved art form that makes intellectual
demands on the reader. It does not give away its secrets (its ‘meaning’ or ‘message’)
immediately. It has to be read like a poem and the meaning teased out through the
complex interplay of form and content.
• Great short story writers offer us a singular vision. The short story gives us
knowledge, but not knowledge as information. The short story at its best goes beyond
sociology, or biography, or information of any kind. The short story is apt to become
obsessed with pursuing a vision, frequently treating the business of (hi)story telling
with scant regard, at times almost playfully. However, if fiction is to be taken as an art
from, it cannot be straightforward philosophy, or history; it must transcend these
spheres of human understanding.
• A lot of Indian writers have published accomplished short stories: R.K. Narayan,
Salman Rushdie, Rohinton Mistry, Vikram Chandra, Githa Hariharan, Amit
Chaudhari, Jhumpa Lahiri, Manju Kapur, to name only a few.
• Elements of short story include Plot, characterization, point-of-view and setting

The following have been suggested as elements of plot:

• Initial situation—thebeginning. It is the first incident that makes the story move.
• Conflict or Problem—goal which the main character of the story has to achieve.
• Complication—obstacles which the main character has to overcome.
• Climax—highest point of interest of the story.
• Suspense—point of tension. It arouses the interest of the readers.
• Denouement or Resolution—what happens to the character after overcoming
everything.
• Conclusion—the end of the story.

Point-of-view/modes of narration

Stories may be narrated in the first person ‘I’ but usually the ‘I’ is a major or minor
character in the story, and not the author. For example, Truman Capote’s Breakfast at
Tiffany’s where an unnamed character tells the story of Holly Golightly, who he used to know
some fifteen years ago. Stories may also be narrated in the third person. In this case the
narrator would be one of the following:

1. Third-person – Can be Omniscient or limited

- Omniscient – The narrator stands outside the story and knows everything
about all characters, including their thoughts, feelings and backgrounds.
- Limited – The narrator refers to characters as “he” “She” or “they” but the
narrative focuses closely on the thoughts and experiences of a single character.
2. First-person: The story is told by a character using ‘I’ or ‘We’. The narrator is
directly involved in the events, so readers experience the story through that
character’s personal thoughts, feelings and limitations.
 3. Second-person: The narrator addresses the reader directly as “you”, making the reader
a participant in the story. It creates immediacy and involvement but is a less common
technique.

Setting

1) Setting in literature is the time, place (locale), and sometimes the weather in the story.
Setting is not merely the backdrop to the action; in effective stories it plays a
symbolic or even an active role
2) Similarly, writers research or explore the place they are writing about. Some writers
who focus on a particular geographical area repeatedly are called Regional Writers.
Thomas Hardy is one example
3) Through their writings they make the place come alive to the readers. At times the
weather –snow, storm, wind, or the heat – are also important constituents of fiction -
Wuthering Heights.
4) Some writers depict characters as products of heredity and environment and even as
helpless puppets in the hands of these factors. Such fiction is classified under
Naturalism or fiction of grim realism. Theodore Dreiser and Thomas Hardy are
examples of writers of naturalistic novels.
5) There are also writers who deliberately eschew setting in order to give a fable-like
effect to the story. In Somerset Maugham’s ‘The Appointment in Samarra’ details of
the marketplace in Baghdad are avoided to focus on ‘death’ that is the main point of
the story.

A Conversation with a Creative Writer

Subhadra Sen Gupta - wrote over 30 books for children - incorporating history. Winner of
Sahitya Akademi’s Bal Sahitya puraskar.

Jaideep Krishnan, our Research Associate, met the writer of The Sword of Dara Shukoh,
Subhadra Sen Gupta, and asked her a few questions. We reproduce below some of things she
said

Is action the difference between writing for adults and for children?
Yes. Children are impatient readers; you have to move into action very quickly. Plot is
absolutely important. You have to talk to them straight, not speak down to them. Do not
ever give advice— they hate it.

What kids like is a lot of detail... a lot of descriptions. What is the colour, the smell, the
touch... it is very important to them. I incorporate a lot of this especially as I’m talking of the
past. Sights, sounds, smell—everything gets in.
Is an oral style important?

Yes, you have to write it in an oral way. I always imagine a child to whom I tell the story..
makes the process better, easier.

What kind of stories do children prefer?

Children prefer stories if they are connected to familiar things, for example, nowadays
computers are very common, so they could connect to one of my stories about a ghost in a
computer.

Although my stuff is not always about familiar things—it is usually about palanquins and
swords. I mean, I keep up with kids, and I can write about what is familiar to them like ipods.

What about morals?

It is not that I don’t bring up questions, I do. Always sugar coated within a good plot, so
they read it anyway. Evil of every kind appears, and so does goodness, but I do not preach—
that makes kids puke.

I also weave in things like tolerance and equality but I do it very lightly. The protagonists
always belong to different religions. They are often poor. People expect historical fiction to
be about nawabs and princesses, so I have children of tongawallas and sabjiwallas going out
and solving mysteries. This is also to break the cliched belief many middle class kids have
that poor kids are dumb.

While writing for kids you are always conscious of the fact that you can influence them
much deeper than you would an adult. That’s what I enjoy, playing with their devious little
minds.

Should certain topics, like rape, violence, be avoided when writing for children?

I have been thinking about this for a long time. But I don’t think I am capable of handling
it, at least for pre-teens.

I hear a lot from children—about peer pressure, divorced parents, physical/ mental abuse,
all these things need to be talked about—it is very necessary. But for me, it is very difficult
to talk about these things... it is difficult to write about them.

I’ve been thinking about it for some time. If I deal with it, it will have to be in the first-
person, because the point-of-view decides how the story comes across.

Evil should be incorporated, makes for great plots! It doesn’t shock kids. But I prefer an
upbeat ending.
Tell us about how you work. Do you think feedback to work-in-progress is important?

I start early, and work till about lunch. You can’t say ‘I’ll wait for inspiration,’ you just
have to write. The hardest part is to start writing. Research is essential, even for modern
stories, it gives them texture. Doing a story about three anonymous kids and a dog in an
anonymous town doesn’t work.

It is important to write. It is also important to get the stories read... you need to know if it
works. The feedback is important. Sometimes the criticism can really destroy you, but it
has to be done... and the more you write, the sharper it gets.

You have written a lot of stories which are set in the past...

Having a niche like history helps. The publisher needs to be convinced.

and illustrates the differences between them.

Points – conversation with writer

- Know who you are writing for

- Know your audience
- What are their quirks, what makes them tick, what interests them
- The writer knows children are impatient, that they love vivid details -it
helps them imagine the world better/understand it better.
- They like descriptions – adjectives
- She knows kids like to be ‘told’ stories – they love to ‘hear’ stories – since
she knows her audience well she can shape her writing in a corresponding
way
- Through practice she has also found it easier to ‘tell’ or through practice she
has grasped that method well.
- She knows that kids love familiar things – but what this means for her is that
she has to traverse the generation gap and keep herself updated – which she
does.
- She says she hears a lot from kids – she interacts with her target audience –
to know what matters to them, what their problems are etc.
- She knows that kids don’t like to be given advice, and don’t like morals
when conveyed dryly.
- But kids have developing minds – it is easy to believe the cliches they see in
other media – or existing hierarchies passed down by adults,
- So she realises her duty to do what she can to consciously change at least
some of these things.
 - Bring in ideas of equality, different religions, break cliches etc.
- But do these things in a subtle way
- She emphasizes again that she is conscious of her audience – children are
impressionable – so influence them in positive ways.
- As a writer you should know what you enjoy about the activity – she enjoys
being able to mould little minds.
- Know what to include but also know what to exclude – what is appropriate
for your audience – but also
- What is your comfort zone? How far can you push it? must you if it is
deemed necessary for your growth as a writer and for the benefit of your
audience.
- She says it has been a difficult thing for her – but she has been thinking and
mulling it over
- Almost reaching a point where she can think about writing about
uncomfortable topics in the future
- And as a good writer will do, find the best way to present it – for her it
would have to be in first person – because she knows perspective is important
in a story.
- She likes upbeat endings – know what you like, be aware of patterns you
repeat – this self-assessment is necessary
- Feedback is important for every writer
- What is written must be read – and although criticism is devastating – it helps
you grow.
- You should have a process – as a writer – start in the morning, evening or
whatever time suits you but have a routine.
- The hardest thing is to write – but a writer must practice.
- She has a process and a set routine
- Research is important not just for non-fiction but for fiction as well
- Writing about anonymous people – she means vagueness – you can’t afford to
be too vague, readers need to identify and connect – for children especially
it is important for there to be something concrete to identify with –
- This requires some amount of researching about backgrounds of
characters, the language they speak, appearance etc – like she said, it brings
texture.
- Having a niche makes you stand out – it gives you a unique place among
others – for her, it is history – for you, you can find it.

Children’s Literature

Based on this conversation we can see a number of features.

- Children love action

 - They love details and descriptions
- Colours, scents, sounds – heightened sensory data
- They should be introduced to morals but not ‘taught’ those
- Children are impressionable so influence them positively
- Children love to be ‘told’ stories – that oral format is beloved – oral format
includes repetitions, limericks, rhythmic wording, interactions, dialogues
etc.
- Stories that can be read to children – where difference in behaviour, voice,
intonations etc can be brought about.
- Oral format also usually has clear beginning, middle and end – easy to
remember when there is a narrative progression.
- Children love familiar things – so including things, events, knowledge
appropriate to the age group one is writing for
- It is important to know what that age group finds important – teenagers for
example might encounter the issue of parents divorcing
- Perspective is important – because this will also be the perspective children
get – whom they identify with – have child protagonists/fables – animals
- So writing the story from the villain’s perspective may not be a good idea
if you want to mould them positively.
-

What is Children’s Literature – General points

• Children’s literature consists of literary works composed specifically for

children.
• This type of literature, which often includes illustrations, is typically written to
entertain or educate children.
• Children’s literature is usually classified by the age of the children to whom the work
will appeal or their reading level.
• In addition, children’s literature is often classified by genre.
• Tales collected by Brothers Grimm (Jacob and Wilhelm 19th century German) - from
4000-5000 years ago
• Aesop, an enslaved person believed to have lived in Greece from about 620 to 560
BCE, created fables with a moral lesson.
• Before the 18th century there was little literature for children, but there was literature
children liked. All literature began with folklore, which was probably aimed at a
general audience of all ages.

• Children’s books did not truly emerge as a separate branch of English literature until
the mid–18th century, when merchants began publishing especially for children. The
best known of these merchants was John Newbery, who published his first book, A
Little Pretty Pocket-Book, in 1744.
• John Newbery known as “The Father of Children’s Literature”, was a publisher
200 children’s books
When you are writing for children the factors that are different compared to writing for adults
are:

1. Being conscious of the age group of the reader and so changing your
vocabulary accordingly.
2. Being careful that the subject matches the maturity of the child.
3. Doing research especially for information books, historical fiction and
science fiction. Kids are fascinated by facts.
4. The vital importance of plots in fiction. Children are impatient readers and
will not wait for you to get into the action.
5. The need to think visually and the importance of descriptions—images,
taste, smell, sound.
6. The importance of format. Various kinds of books – novels/stories/picture
books/comic strips/non-fiction/quizzes/games & puzzles may be used.
7. The need to work with illustrators, designers, photographers.
8. Writing for children offers many opportunities for collaborative work.
9. It helps if the story has children as main characters, if the story is plot-
oriented, has simple language, is educational and has a happy ending.
10. Animals as main characters
11. children’s literature can include a wide range of works, such as picture books,
fairy tales, lullabies, fables, and folk songs.
12. Children’s literature can consciously introduce cultural diversity

Famous books

1. Little House on the Prairie By Laura Ingalls Wilder

2. Stuart Little By E.B. White
3. Alice’s Adventures in Wonderland By Lewis Carroll
4. Matilda By Roald Dahl
5. Goodnight Moon By Margaret Wise Brown
6. The Very Hungry Caterpillar By Eric Carle
7. The Cat in the Hat By Dr. Seuss
8. Anne of Green Gables By L.M. Montgomery
9. Charlie and the Chocolate Factory By Roald Dahl
10. The Chronicles of Narnia Series By C.S. Lewis
11. A Wrinkle in Time By Madeleine L’Engle
12. Harry Potter series by J. K. Rowling
13. Madeline By Ludwig Bemelmans
14. Three Little Pigs By Steven Kellogg
15. The Snowy Day By Ezra Jack Keats
16. The Real Mother Goose By Blanche Fisher Wright
17. The Tale of Peter Rabbit By Beatrix Potter
18. Winnie-the-Pooh By A.A. Milne
19. Charlotte’s Web by E.B. White
 20. Where the Wild Things Are by Maurice Sendak

Genres

Picture Books, fairy tales, lullabies, rhymes, cartoon books, children’s comics,

Drama

• The word drama is derived from the Greek word drao which means to ‘do’ or
‘act’.
• Most dictionaries define drama as a general term used for performances in
which the actors imitate the speech and actions of characters (fictional,
historical, or non-human entities) in order to entertain an audience, either on
stage or through a broadcast or by a particular example of this art i.e. a play
(Baldick 1990:61).

Writing a play is not completely different from writing fiction.

In both, there is a dependence on plot; a revelation of character through action and

dialogues; a distinctive tone; and some kind of central concern or theme. (Minot 1982:215).
However, drama has some special attributes that set it apart from fiction. Let us have a look
at these.

A play differs from a work of fiction in that it is addressed not to the

A spectator
readers but to the spectators. There is a direct and dynamic relationship
art
between the playwrights and their audiences.
A play generally has an emotional impact or force established early in it with
a dramatic question that often develops into a specific conflict; such an
A dramatic impact is difficult to sustain and so the playwright works out a pattern of
art rising and falling action to regulate the emotional peaks of the audience.
Irony, satire, and shock are some of the devices that add to the dramatic
aspect of a play.
Action or the movement of the characters on stage is as significant as the
lines spoken by them. The set, lighting, experiments in mixed media such
A visual art
as the addition of projected images and even movie sequences, all appeal to
the visual aspect of drama.
An auditory A play appeals to the ear; every word (except for stage directions) is a
art dialogue and is meant to be spoken aloud. Thus the sound of the language, be
 it in realistic plays or otherwise, is important (The sound of the pauses, too,
need attention).
In drama, sets have to be constructed and it is not always possible to shift
from one scene to another as quickly as one does in film and fiction. The
A physically impact that this has on live performers is that it lends a kind of intense
produced art credibility, regardless of whether the play is realistic or not. It also allows a
variety of techniques that help to blur the distinction between actors and
audience.
When reading works of fiction and poetry, one can linger where one wants to;
turn back a page or review an earlier scene. But in drama, the audience
A continuous
has to follow the pace set by the playwright. A portion of a scene might
art
well be far more rapid than another. So, the playwright has to be evermore
conscious of pace.
**Not all plays use dialogue; a Pantomime, for example, is a play without
words, also called a Dumb Show. In ancient Rome, a pantomime meant an
actor who single-handedly played all the parts.

Terms –

Stagecraft: The technical aspects of theatrical production.

Proscenium: The frame or arch separating the stage from the auditorium.

Tragedy: A play that deals with serious themes and ends in a catastrophe.
Comedy: A play that is humorous and ends happily.
Melodrama: A play characterized by exaggerated emotions and sensational events.
Farce: A comedy that uses highly improbable situations and slapstick humour.

Tragicomedy: A play that blends elements of tragedy and comedy.

Monologue: A long speech by one character.

Soliloquy: A speech in which a character expresses their thoughts aloud to themselves.
Aside: Words spoken by an actor directly to the audience, unheard by other characters.
Denouement: The resolution of the plot following the climax – loose ends are tied up,
consequences of climax are revealed.
Exposition: The part of a play that provides background/introductory information.

Stage directions: Instructions in the script that describe the setting, characters' actions,
and other details.

Verbal and Non-verbal elements

When discussing the elements of drama, it's essential to distinguish between verbal and non-
verbal components. Here's a breakdown:

Verbal Elements:

These elements relate to the spoken word and how it's used within a dramatic
performance. They include:

• Dialogue:
o This is the conversation between characters. It's crucial for advancing the
plot, revealing character, and establishing relationships.
o
• Language:
o This encompasses the specific words chosen, the style of speech, and the
overall linguistic tone of the play. This can include:
§ Dialect: Regional or social variations in language.
§ Register: Formal or informal language.
§ Tone: The attitude conveyed through speech.
• Voice:
o This includes:
§ Pitch: The highness or lowness of the voice.
§ Volume: The loudness or softness of the voice.
§ Pace: The speed of speech.
§ Intonation: the rise and fall of the voice.
§ Pronunciation: How words are spoken.

Non-Verbal Elements:

These elements involve communication without words, conveying meaning through visual
and physical cues. They include:

• Body Language:
o This encompasses gestures, posture, and movement, all of which communicate
emotions and intentions.
• Facial Expressions:
o These are crucial for conveying emotions and reactions.
• Gesture:
o Expressive movements of the body.
• Movement/Blocking:
o The placement/ arrangement
o and movement of actors on stage.
 • Space:
o How actors use the stage space and their physical relationships to each other.
• Costumes:
o These provide visual information about characters, such as their social status,
personality, and historical period.
• Props:
o Objects used by actors on stage, which can symbolize or enhance the meaning
of the play.
• Lighting:
o This creates mood, atmosphere, and focus.
• Sound:
o Non verbal sound effects, and music, that create atmosphere and enhance the
performance.
• Set design:
o The construction of the stage to create a specific location, and atmosphere.

Understanding both verbal and non-verbal elements is crucial for appreciating the full impact
of a dramatic performance.

Tragedy:

• asks basic questions about human existence like: why do men and women suffer? Is
there justice in the world? What are the limits of human endurance and
achievement?
• Presupposes an indifferent and sometimes malevolent universe in which the innocent
suffer and there is inexplicable cruelty
• assumes that certain men and women will confront and defy fate even if they are
overcome in the process

Traditional tragedy:

• chief characters are kings, queens, persons of stature, and nobility

• central figure is caught up in a series of irrevocable tragic circumstances
• hero/heroine is willing to fight and die for a cause
• written in verse
• examples, Hamlet, Medea, Macbeth, King Lear, Antigone

Modern tragedy:

• involves ordinary people

• written generally in prose
 • deeper meanings of tragedy explored by non-verbal as well as verbal elements
• examples, Long Day’s Journey into Night, The Iceman Cometh, Death of a Salesman

Characters in Drama

Broadly speaking, characters in a play can be divided into (a) Extraordinary characters ;
(b) Prototypical characters; (c) Stereotypical or stock characters (also, characters with a
dominant trait)

Extraordinary Characters

(a) In traditional theatre:

1. The heroes/heroines stand apart from ordinary people;

2. Are generally kings, queens, etc. and so are extraordinary in terms of their position

of authority, for example, Macbeth, Lady Macbeth.

3. Such characters are either at their best or their worst, that is, at some extreme of

human behaviour, for example, Lady Macbeth’s ambitiousness.

4. Comic characters also show extremes of behaviour, such as the chief character of Ben

Jonson’s play Volpone.

(b) In modern theatre:

1. The heroes/heroines are exceptional people but without the trappings of position and
authority;
2. They display their best or worst traits: for example, in Brecht’s Mother Courage, the
central character is a woman willing to sacrifice anything to survive; Strindberg’s
Miss Julie is a neurotic and obsessive woman at the end of her tether.

Prototypical characters

1. Not to be confused with a stereotype, these are fully rounded three dimensional
characters.
2. Exceptional in that these characters are the embodiment of an entire group: Nora
Helmer, the heroine of Ibsen’s A Doll’s House, is a prototype of all the housewives
who refuse to be treated unfairly; her slamming of the door is symbolic of the
emancipation of the modern woman.
Stereotypical characters

1. Such characters symbolize a particular type of person or some outstanding

characteristic of human behaviour.
2. appear in all forms of drama but particularly in comedy and melodrama
3. some examples of stock or stereotypical characters can be found in the daily soaps
such as the manipulative ‘other’ woman; the principled ‘do gooder’ wife, etc.
4. the attitudes and actions of such characters are generally predictable.

Characters with a dominant trait

1. Closely related to stereotypical characters; these are characters with a single trait or
‘humor’.
2. Such characters are often named after their particular personality trait such as Lady
Sneerwell, Mrs Candour, Sir Benjamin Backbite, etc.

Styles of Contemporary Indian English Theatre

Origin

• The contribution of British empire – English language

• Initial plays were staged for the British civil servants and such – mainly English plays
staged in the country – performances by European companies for European audience.
• Later productions included translations of Sanskrit plays
• Original productions by Indian playwrights showed streaks of anti-British sentiment,
reflection of societal evils etc
• 19th century saw the rise of Indian English playwrights
• Major names in the 1800s – Krishna Mohan Banerjee – his play ‘The persecuted
(1831) is considered one of the earliest Indian English plays – about western influence
on Hindu religion.
• Michael Madhusudan Dutt is another famous name
• ‘Nil Darpan’ by Dinabandhu Mitra (1860)
• In the pre-independence era playwrights explored themes of nationalism and social
reform, also clash of Indian and western values.

Elements

Ø Hybridity – western and eastern elements together

Ø Social and political commentary – urban existentialism, caste discrimination,
political corruption etc
Ø Experimentation – non-linear narratives, experimental staging
 Ø Regional Diversity – regional theatre and its elements have strong presence in
Indian English Theatre as well.
Ø Recent trends include focus on marginalized voices – LGBTQ etc

Styles and Trends:

• Theatre of the Oppressed:

o This style, influenced by Augusto Boal, is used to address social and political
issues through interactive performances that engage the audience in problem-
solving.
• Street Theatre (Nukkad Natak):
o This form of theatre is performed in public spaces and is often used to raise
awareness about social issues. It is known for its directness and accessibility.
• Improvisational Theatre:
o Improv theatre is gaining popularity in India, with groups exploring
spontaneous and interactive performances.
• Multimedia Theatre:
o The use of digital projections, sound design, and other multimedia elements is
becoming increasingly common, creating immersive and visually stunning
performances.
• Reinterpretations of Classical Texts:
o Many contemporary playwrights are reinterpreting classical Indian myths and
stories, giving them new relevance in a modern context.

In essence, contemporary Indian English theatre is a vibrant and evolving art form that
reflects the complexities and dynamism of modern India.

Major Writers

Girish Karnad, Mahesh Dattani, Vijay Tendulkar, Badal Sircar, Manjula Padmanabhan.