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.