This post on plotting short stories by Aliette de Bodard is a timely one. I’m most comfortable writing novel-length stories; I guess I just think long. However, every so often I get a bee in my bonnet about writing short stories (especially as a break from the novel, or for the instant gratification factor). Occasionally, I actually succeed with a short story, but for every one that works I have a few that–for whatever reason–didn’t. I’ve decided to write another Elinor story–about 5Kish–this month, so I’m looking for all the help I can get!
So far, here’s what I’ve discovered about short stories in the last six-odd years of reading, writing, and failing to complete a number of them:
Really strong prose and/or an original concept can make a short story. A friend and I analyzed several short stories together to see why they worked. A lot of them had characters that weren’t accessible and several didn’t resolve satisfactorily, but great prose and an original and intriguing premise carried the story–at least for many people.
Short stories are also good for experimental techniques, like writing entirely in footnotes or encyclopedia entries–the kind of thing that would make readers spork out their eyes if they had to read an entire novel of it.
I prefer to have likable characters, a conventional form and a resolution, so I’m looking at other factors to make my short stories work:
Limit, limit, limit. Limit the characters, limit the settings, limit the plot complications. Sounds simple, right? But hard to do when you’re used to thinking big. Try to have only 2 or 3 characters with speaking parts. Don’t require the protagonist to travel to five different cities spread across an entire continent. Don’t have lots and lots of plot complications, like “Lyra needs the magic amulet of Ambabi to prevent her little brother from turning into lime Jello at dawn, but first she has to find the Wise Ostrich who needs her Magic Feather back before she can transport Lyra to the Cave of Serpents, where Lyra has to battle the Serpent King, but after she wins it turns out the magic amulet was stolen yesterday by the Evil Monkey…”
Start as late as you can. Yes, they say that about novels, too, but I think it’s especially important in short stories. If your big conflict is getting your heroine out of an enemy camp, start with her already *in* captivity, instead of walking along the jungle paths looking for tasty bananas for her supper. If the conflict is getting off a hostile planet you’ve crashlanded on, start with being stranded, and fill in the relevant backstory as you go along.
Keep the scope focused and personal, even if the stakes are global. Instead of having the mighty armies clash on the battlefield, zoom in on the duel-to-the-death between the two commanders that will settle the fate of two countries. Make these conflicts personal, between individuals, even if the consequences are far-reaching.
Do you have any wisdom to share in the writing of short stories?
Have a Goal
In a novel, you can get away with not knowing your protagonist’s ONE major goal. In a short story, you can’t. Know the goal. Not a problem to learn it along the way, but realize if you do, you’re probably going to have to rewrite unless you learn it soon enough.
Blur Out the Background
Don’t ignore the huge cast of family, friends, etc. that feeds into your main character’s life. Just…blur them out.
For example: in “Paraphernalia,” characters mentioned include a twin, a late parent, a parent that abandoned ship, four close friends, and several acquaintances. But the only characters that got intense detail were the main character, her almost brother, and the woman that raised them both.
Two were on-screen for most of the story, and the other had a telephone conversation. But in the off-screen bits of memory, detail, idea, etc., only the late parent and these three speaking characters got fleshed out. Everyone else was defined by the small details and only where they fed into the main character’s goal. In short, lay out who they are and how they fit, but don’t make them the focus. Make them background.
Have a Concept
If you want to do slice-of-life or vignette, this becomes even more important than usual because the goal becomes secondary or nonexistent, but whether you have a goal or not, have a concept. This means, know what idea or feeling you want to resonate through the story.
First writing of “Paraphernalia,” I wasn’t very sure on it, so I wrote two concepts and no satisfactory resolution. On the second writing, I picked one and the story came together beautifully. Sometimes, you’re not writing about a journey; you’re writing a snapshot. Of what?
Excellent suggestions, Megs! I especially like the one about knowing your goal. I’m trying to figure out where in Elinor’s overall storyline I should fit the story I want to write, but I was so focused on her long-term character arc that I hadn’t stopped to consider what her goal for *this* story ought to be. You’ve given me a new direction to consider. 🙂
Other than the obvious charge to choose words oh-so-carefully in short stories (why do people always assume that novels are casual rambles?) because one right word can do the work of three nearly-right words, I have no insights yet. Hope, too, soon, as I have one story underway and another one incubating. Neither is terribly short, but neither could support a full novel. Not a novel I’d want to read, anyway.
Very interesting post. Good thinking. :)TX
Well, novels do have more leeway for those extra words. I actually prefer my novels to have breathing room and sprawl out a bit, but short stories are lean machines. 😀
Thanks for sharing those thoughts, Meg. I found that really interesting. And Rabia, thanks for the link.
I’ve just written a micro-story, all 200 words of it, for a local competition. It really focused me on exactly what word I was using in each place. Even the title was important! The Importance of Interruptions to a Writer 😀
I assume the ‘concept’ here would be interruptions?
Good luck, All, with your shorts 🙂
Thanks. 🙂