Category Archives: short stories

Short stories

Short stories are NOT my forte.  Let’s get that out of the way right up front.

My first attempts to write short stories were unsuccessful on many, many levels.  Basically it would start off with an idea.  I’d say to myself, ‘you know, this idea isn’t exactly worthy of an entire book.  I should make this into a short story!’ So I’d start in on the ‘short story,’ only to realize, after about fifteen or twenty pages (maybe ten or twelve) that I hadn’t even finished introducing the universe everything took place in, much less gotten to the meat of the story.

So I’d amend my plans.  No, not a short story, this would have to be a book after all.  Then, about five or ten pages later, I’d hit a brick wall and decide that I could come back to this story later and see if it was really worth getting into.

So I would fail to write the story, and fail to keep it short.

Eventually, I’d come back to it and, in most cases, fail to remember what the hell the story had actually been about anyway!

These days I’m a little bit better about it.  I mean, sure, I only finish about one in ten of the short stories I write, but let’s be honest, that is a massive improvement from zero percent,

But in order to do that, I rarely have a fully fleshed out story as the end result.

Basically, when I’m working on a short piece, I essentially attempt to establish a mood instead of really telling a tale.  Getting a full story arc into just a few thousand words is rather difficult for me, so instead I just find the emotional high of a story and attempt to capture that as powerfully as I can.

Another trick I’ll try is practicing a technique with which I am unfamiliar, or one which is difficult to impossible to maintain over the course of an entire book.  I’ve written a few where the entire story is dialogue written from one character’s perspective, that’s a good way to keep things short.  And it’s fun, too.

But I feel that I am missing out on something.  I’d like to be able to generate these more traditional pieces.  Unfortunately it requires a discipline and skill set that I largely lack.  Still, you should always push yourself.  I’m a big believer in that.

I’m going to make a concerted effort, over the next couple of days, to write a couple of short stories associated with my corpse-eater saga universe.

I’m inclined to think that having an established universe for the story to play out in will be helpful to me.  One of the traps I’ve fallen into in the past has been spending so long trying to tell all of these details that are unnecessary to the plot, but make the world as a whole work.  I’m hoping that the knowledge that I’ll be able to share these details, or have already shared them, in some other work will serve to help me focus my attention to the story itself.

Here’s hoping.

Advertisements

The art of the Short Story

For years I struggled, and failed, to write short stories.  I’d come up with a good idea (well, they sure seemed like good ideas at the time), I’d start writing, and suddenly I’d realize that I had another novel on my hand.  I mean, I never finished them, but my difficulties with finishing books are for another day.  Let’s try to stay on point here, people.

Basically, I’d start writing the story, and suddenly I’d realize that I was ten pages in and I hadn’t even gotten to the story, yet, I was still basically just describing the ‘ordinary world.’  Or, if I did manage to get right into the actual meat of the story, I’d realize that the really interesting bit was what happened after the story that I wanted to tell.  Or I’d fall in love with a character and want to tell all about them….

It wasn’t actually a problem, at the time, I was still in grade school at the time, even if I had managed to finish a short story, I wouldn’t have known what to do with it, and it sure as hell wouldn’t have been accepted anywhere.

I’m not going to claim that I’ve perfected the art of writing short stories since then, but I am happy to say that I’ve gotten a lot better at it over the years.  I’ve written around sixty short stories in the past couple of years, and I’ve published about a dozen of them, which isn’t an earth shattering number, obviously, but I’m proud to have gotten that done.

I don’t know how common this problem is, being unable to limit yourself to a short story when you know that you have so much to write, but I have talked to a couple of people who’ve been through it as well, so I’d like to share a couple of things that have worked for me in the past.

The first trick I’ve found involves writing about characters that I have in other books.  One of the big problems for me is that, when I start a short story, I often find that I create a huge world behind it.  In order to make the characters ‘on screen’ three dimensional, I give them backstories, reasons for their insanities, and I want to explain that.  If I have a book, or a series of books in the works with those same characters in them, then I can set aside the unnecessary explanations.  I don’t need to introduce all of the people in their life, or all of their idiosyncracies.  The character is fixed in my head the universe is established, and I can focus on the story.

The second trick I use is what I call the trick trick.  I take an idea, some sort of kooky, off the wall  writing style idea, and I write it like that.  My favorite example is writing the entire story as a one sided dialogue.  I’ve read it a couple of times, and I love it.  It’s tricky to do, because you have to phrase things in such a way that you convey what was said, or what just happened.  But that’s the point.  Writing everything as one side of a conversation, and creating a meaningful story out of that takes concentration and energy, so you find yourself needing to close up the story sooner.  It has the added benefit of stretching you as a writer, and helping you figure out how to pull off similar things on a smaller scale when you’re writing a novel.

The third trick is the emotion trick.  Basically, for me, these stories are about finding a specific instant within a story, and focusing on the emotion of it.  Whether it’s a soldier who is about to sacrifice himself to save his platoon, or a victim who has just discovered that he is in the clutches of a serial killer, or an old woman with dementia who is trying to figure out why she’s in a house with all of these unknown, but kind people, the point of the writing isn’t to tell a story, it’s to evoke a reaction in the reader.  In the course of creating that emotion, you do in fact tell a story, but the story is incidental to the emotion.  And since, in longer works, you have to have rising and falling emotions, you find yourself limited in how long you can make this particular work.