 Short Stories: August 21, 2024 Issue [#12690] |
This week: Plotting the Short Story Edited by: Annette in France  
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| Short stories are like an intricate watch: every element has to count and must relate to everything else in a very deliberate way. ~ Jenn Ashworth |
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Plotting the Short Story
Assemble your ideas
When a short story idea pops up in your mind, take notes. Who are the characters? Where is the story set? Are there any dialogue bits floating around in your mind already? Jot all of this down.
Define the central conflict
The central conflict or the main theme usually create a short story's rising action arc. The character in the story is trying to accomplish something, but there are obstacles to overcome. Those can be external or internal. Whether the character can't go outside because they are a grounded child or they are an introvert who wants to become a rock singer, obstacles are all around your character.
Outlining can help keep it all together and flowing
If you think it will help you, take a moment to create a sort of story sketch that gives you a scaffolding to write your first draft.
No matter what kind of information is in your outline, whether it ends up in the story depends on whether it advances the plot or not. Some notes are just for you while others need to be in the story for the readers to understand.
Point of view
For a short story, pick the point of view in which you want to write in and stick with it. A short story doesn't really lend itself to switch from first person point of view to second person point of view. However, you can choose the break the fourth wall and have a character talk to the reader or even the narrator talk to the reader. It's old fashioned, but if that's how you want to write, do it.
The reason a point of view is important is that it helps the reader to identify with the character and makes perils, emotions, and consequences feel more important.
Story structure
Because short stories don't go on for very long, they led themselves to play with the flow of the events a little bit. You can start at the beginning and narrate through to the end in chronological order. Or use in media res. That means you start with the ending and then tell the readers how we got here. Or your timeline can be very short. Only a moment in time. Almost like a painting's backstory.
If you pick a non-linear narrative, make sure to keep very good track of all the bits and pieces. They can get out of hand real quick and then you end up with an illegible mess.
How do you prefer to structure your short stories? |
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Replies to my last Short Stories newsletter "Good Dialogue" that asked What tools and tricks do you use to make dialogue in your stories appear natural?
s  wrote: One thing about dialogue that a lot of people - and this includes writers for big Hollywood productions - seem to forget is that people who know each other don't tell the other person something they already know. I hate dialogue with the "As you know..." introduction (or the like) - you know you're getting exposition for the reader's benefit, not the character's.
Still, a good overview of the whole dialoguing thing.
I can see where you're coming from when with calling "As you know ..." unrealistic dialogue. But in real life, how many time have you had to tell a person a fact that they should know, but they somehow keep forgetting? As my sons know, Tuesday is trash pick up day, but for some reason I have to tell them to put the garbage cans in front of the house every Monday night.
Beholden  wrote: Thank you very much for including my short story, Twenty-three, in your Editor's Picks section.
As for dialogue, I imagine myself speaking the words of each character. I know what info has to be communicated to the reader, so the essence of the conversation is already there, and then it's just a matter of the minimum of decoration to ensure flow and a natural feel.
Having said which, this is all written in hindsight. It's not as if I have a system or method for writing anything. But I do attempt to answer questions like yours by remembering the act of writing, and observing to see if I can discern a pattern. In reality I don't think about it - it just happens. And I fear killing the goose that laid the golden egg by dissecting the deed to see how it works. It's not wise to look too closely into these things.
You're right. It's sometimes best to let characters develop on their own. They end up finding their voice naturally, just like children learn to speak naturally. |
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