 Short Stories: March 07, 2012 Issue [#4923] |
  Short Stories
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I don't think I'm alone in saying that while I view most of my work as being tied into novels, I definitely would define myself as a "story writer" over a "novel writer," for a variety of reasons. Being that stories are perhaps the overarching category title where we might find novels, I suppose it makes sense that I might view it this way.
This past month, I've been hard at work on a few projects that tie into a larger novel setting. It's an easy way to focus small bursts of creative energy that simply haven't been focused on the novel itself as much as I'd like; it's less distressing than being totally off-topic, at least. I still feel like I'm making progress with the larger work even though the short stories don't necessarily have much bearing on the contents of the novel itself. I have also found that writing short stories that are "in-universe" but perhaps focus on events long before or long after the main action of my novel can be a great way to gain insight or reflection on the current action I'm trying to focus on, and hopefully will provide a little extra burst later on when I'm working on revisions of the next draft.
I've talked before in this newsletter about using vignettes as a means to build up to a short story, but what about the next logical step there--- using short stories as part of a larger body of writing? I think short stories are a fantastic middle ground for development.
Often when I'm writing a short story, I feel freer to experiment with stylistic elements: working from an unusual point of view, for example, or telling a story from the perspective of a highly unreliable narrator. Working in a pre-defined universe with a story like this has its advantages and drawbacks; for example, you might not need to explain some of the more intricate details or back-story framing this short piece-- but it might be less than effective for a new reader who's never been introduced to your setting or characters before. It's also another vehicle for world-building; showing the way things are in the world you choose to write about, no matter what degree of real it might be to you as a writer, it's important to make sure the reader can hear, see, smell, and feel the place you're in. (I suppose if you're real gung-ho about it you could make sure the reader can taste it, but that's more or less up to your discretion. Ha!)
I also like to experiment with writing from the perspectives of characters who, on their own, could not easily hold a novel together-- this would be another spot for those narrators of questionable stability, but also for writing from the point of view of characters who may not get very much screen time in your novel/series. It can give you an entirely new view on your characters to see the world from their respective vantage point, and to tell a story as it affects them can give you a world of insight that can influence the way you approach your main story as well. I can say that having done a few short stories this way myself, I've learned a lot more than I thought I would about my characters, and significant parts of it have been a total surprise to me once the story was finished. It's hard to know what to expect until you give it a shot!
Just some food for thought for this month: Do you have an series or ongoing works where one or more short stories factor in?
Until next month,
Take care and Write on!
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Feedback from last month's newsletter: "Fiction as Catharsis."
billwilcox writes:
Like in real life, characters come and go. Some hang around longer than others because they're not quite done telling their story; some become really good friends. When that happens you can either write the dreaded sequel, or you can just kill them off. God, I love being a writer. 
I know what you mean there! Gran was a tough old bird-- and so, it turns out, is the girl in this novel.  I am not so sure of how to deal with her at this point.
Specter  writes:
Boom ba doom Jay,
Round is better than square. In this, my first reply, I thought I would squeeze in here just to see if it fits on the enticing peak of paragon. Then again, I thought, initially, don't touch the leader--you could lose your penmanship.
Death is a frightening coercion, codified by stiffness and silence. One thing for sure, you can't have too many accidents. Stephen King had quipped: "We all go smash on the floor." Though, he survived the wham of a van.
Catch ya on the next grief (iron chain).
Accidents are one thing-- but a whole other story when we write.
Lunarmirror writes:
I am sorry that you lost someone important to you and though she was 92 it is obvious that to you the death was untimely so your registered it that way.
This was a very good newsletter as it focused on very real feelings that connects all of us.
It wasn't an easy one to write, by my standards, but it was all I had working for me last month. Things have gotten significantly less frustrating this month at least...!
Ajay writes:
of course writing needs characterisation, emotions of grief and sorrow are very real things which comes to human mind
I like to think so as well, but as writers we sometimes need to be reminded of the little things that make us tick.
NaNoNette  writes:
Readers are going to think we planned this. My Contests and Activities newsletter also deals with grief and how to use writing to cope with grief.
I agree that many of the things that happen to my characters are based in real life events I experience. Sometimes, it's blown out of proportion, or it's something I would have liked to do. Using characters in stories to work through emotions is real and healthy. I think so.
Oh, I am sure. It is weird when our characters turn out to be more like real people than we expect-- especially when they become people we want to protect from the harm we're about to do them... |
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