shutupandwritegoddammit:

A short story is a piece of fiction under 20,000 words. More typically, a short story will be 1,000 – 5,000 words. (Pieces under 1,000 words are “short short stories” or “flash fiction”, over 20,000 and they’re novellas.)

Short stories are published in magazines, newspapers and book anthologies. Short stories need:

• A small cast of characters, with one main character
• A compact time frame, with the story taking place over the course of a few days or weeks
• A single plot without subplots, though longer short stories may have a subplot

The majority of writing competitions are for complete short stories, rather than novels or novel excerpts. If you do enter competitions, don’t be put off writing if you don’t win – judges have different likes and dislikes.

How to Write a Great Short Story

Like any story, your short story needs to have a beginning, middle and end:

• The beginning is where we’re introduced to the characters, especially the main character and his/her problem
• The middle is where the action and plot develops. The main character will face difficulties such as opposition from other people or a challenging environment.
• The end is where the main character triumphs over his/her biggest challenge (or fails, in the case of a tragedy). The resolution should be satisfying and conclusive for the reader.

Even in literary and experimental short stories, it’s important that something should happen. Much of the action might take place inside the characters’ heads, but there should be a real change as a result.

By the end of your short story, your main character should have experienced an internal change. This means that they’ve grown and developed as a person – perhaps overcoming a fear, or recognizing an unacknowledged truth about himself or herself.

wordscount:

Remembering Kurt Vonnegut

celtx:

My fave:  Vonnegut’s eight basics for creative writing

1. Use the time of a total stranger in such a way that he or she will not feel the time was wasted.
2. Give the reader at least one character he or she can root for.
3. Every character should want something, even if it is only a glass of water.
4. Every sentence must do one of two things—reveal character or advance the action.
5. Start as close to the end as possible.
6. Be a sadist. No matter how sweet and innocent your leading characters, make awful things happen to them—in order that the reader may see what they are made of.
7. Write to please just one person. If you open a window and make love to the world, so to speak, your story will get pneumonia.
8. Give your readers as much information as possible as soon as possible. To heck with suspense. Readers should have such complete understanding of what is going on, where and why, that they could finish the story themselves, should cockroaches eat the last few pages.

(via shutupandwritegoddammit)

Choose one (possibly two) of your characters and stage a dinner (or other event) where every person s/he has slept with attends.  

creativewriterproblems:

Role: For example, general role, or story-specific role. The former, things such as ‘main character’, ‘main character’s best friend’, ‘bad guy’, ‘mentor to protagonist’, etc. might be used. The latter, things such as ‘detective’, ‘older wizard’, ‘disgruntled ex-boyfriend’, ‘lieutenant’, etc. may be used. 

Full Name: The character’s full, complete, and legal name.

Name at birth: Same thing, but only if it was different when the character was born, i.e. if s/he changed name because of marriage, adoption, religious conversion, or other reason.

Aliases/Nicknames (if any): Any aliases or nicknames that the character is addressed by, referred to as, or uses for whatever purpose on any regular basis.

Title(s): Any title, such as “Dr.”, or “Master”, or “Special Agent”, or “Venerable” may here be reference and noted.

Preferred name: What name the character prefers to be addressed by. For example, foreign exchange student Yeonggwang goes by ‘Paul’, or Nicholas goes by ‘Nicky’. It may also be that someone is referred to primarily by their surname, or by their complete, unabbreviated forename.

Age/Date of Birth: Both the character’s age at the start of the story, or ‘canon’, as well as the complete date of birth with the appropriate calendar. In a realistic story, this would be using the Gregorian calendar (unless your character’s religion or culture dictate use of the lunar calendar). In a non-realistic story, the calendar will depend on your universe. 

Sex: Male or female. 

Sexual Orientation/Gender Identity: How does the character identify his or her gender? What is his or her sexual orientation? This may be ‘heterosexual’, ‘homosexual’, ‘transgender’, or whatever pleases the character in question. 

Race/Ethnicity: What is the character’s race? This may be ‘White/Caucasian’ or ‘Black/African-American’ for example. It may also include nationality, or ethnic group. Hispanic or Latino status should be denoted here. If the character exists in a fantasy world and is not human, the appropriate race and/or sub-race should be listed. 

Skin Tone: What is the character’s skin tone? This may be ‘dark brown’, ‘light brown’, ‘olive’, ‘pale’, ‘albino’, or perhaps even some fantastical hue for a non-realistic character. 

Height: The character’s height, in the most accepted unit. This may be realistic, inches or centimeters, or may be specific to the universe or culture. 

Weight: The character’s weight, in the most accepted unit. This may be realistic, inches or centimeters, or may be specific to the universe or culture. 

Build: What is the character’s build? Slender, athletic, frail, sturdy, stocky, muscular, or plump may be some of the adjectives that come to mind. 

Eyes: What is the character’s eye color? Be specific without using purple prose. For instance, ‘light brown’, or ‘hazel’, or ‘black’, or ‘pale blue’ would be acceptable. If the character wears contacts that change the natural eye color, both colors should be noted and explained. 

Hair: What is the character’s hair color? Be specific without using purple prose. Also describe the texture, thickness, length, style, and any other significant attributes, such as whether it is oily or particularly shiny. If it is dyed, has highlights, or otherwise has unnatural alterations, those should be noted and explained. 

Clothes Style: What style of clothes does the character wear? With very few exceptions (such as a story that takes place over one day, or in a prison or boarding school where students wear uniforms), your character will not be wearing the same outfit throughout the story. Does your character follow fashion trends? What materials, colors, and type of clothes does the character wear? Where does he or she obtain the clothes? Are they ethnic or traditional clothes? Is the character promiscuous or modest? 

Tattoos, Piercings, Marks, Scars, etc.: Describe the location, size, and appearance of any tattoos, piercings, marks (such as moles or birthmarks), scars, or other notable or significant physical traits not already discussed. 

Appearance: Describe the character’s appearance without reiterating anything already said. Anything that has not been said in this category that should be noted will be described and explained here. A note - this is physical appearance only. Equipment and such will follow later. 

Religion: Does the character have a religious affiliation or sense of spirituality? Has the character ever converted to or from a religious affiliation or sense of spirituality? Describe in detail the character’s religious or spiritual beliefs or experiences. 

Political Affiliation: What sort of politics does the character have? Has the character ever changed parties, affiliations, beliefs, or public platforms? Describe in detail the character’s political platform and activities. 

Education: How educated is the character? Is he or she literate? Does he or she have a secondary school diploma (or equivalent)? What about higher education? Is he or she still in school? Describe in detail the sort of education the character has, noting and explaining any degrees or academic honors or awards. 

Languages spoken: What languages does the character speak, including his or her native language(s)? Specifically, what dialect of each language does he or she speak? When, how, and why did the character learn any secondary languages? 

Weapons (if any): Does the character have any weapons or other sorts of equipment? What are they, how did he or she obtain them, and why does he or she keep them? Has the character ever lost or had confiscated any weapons or equipment? What were they, and why did this happen?

Occupation(s): What is the character’s occupation? Does he or she have multiple concurrent occupations or jobs? When did he or she start? How high up on the ladder is the character? 

Past Occupation(s): What past occupation(s) has the character had? Did he or she have multiple concurrent occupations or jobs? How long did each last, and when was the character employed? By whom? And how far did the character advance? Most importantly, why is the character no longer employed in these former positions. 

Special Abilities/Skills: Does the character have any other special abilities or skills, whether highly desirable or not? Talents, learned skills, and such may all be listed here. 

Activities/Organizations: What sorts of activities does the character engage in? What organizations is he or she actively supporting or participating in, and what organizations is the character loosely affiliated with? What sorts of activities and affiliations has the character had in the past and why are they no longer current? 

Hobbies: What sorts of hobbies does the character engage in? Anything such as knitting, collecting money, or listening to music may be listed here. 

Interests: Any other interests that the character has or has had, such as philosophy, economics, or weaponry. 

Serious Problems/Flaws/Addictions/Disorders/Disabilities: What are the character’s most significant problems or flaws? Does he or she have any addictions or bad habits? What about criminal history? Does the character have any disabilities or psychological disorders? If so, what are they, when and how did they onset, and when were they diagnosed? To what degree is the character affected, and what is being done about it? Most importantly, what is the character’s attitude toward his or her flaws or disabilities? 

Citizenship: In what nation or nations does the character have citizenship rights? 

Place of Birth: Where, city and province or state, was the character born? 

Now lives: Where does the character now live? 

Lives with: With whom does the character live? This may be spouse, cohabitant, child(ren), roommate(s), pet(s), parent(s), sibling(s), etc. 

Current Relationship Status: Is the character currently in a romantic relationship? With whom? When did it start? Is the relationship healthy or unhealthy? 

Relationship History: What sorts of romantic relationships has the character had in the past? With whom? When did they start, how long did they last, and why and how did they end? Were they healthy or unhealthy? 

Family: Who is in the character’s family? Immediate? Siblings? Children? With whom is the character in contact? How are the relationships? Healthy or unhealthy? Why? Also, describe both the current family relationships and childhood relationships with family. 

Other Biographical Remarks: Write the rest of the character’s biographical information. Anything that was missed, or not expounded on already. 

simplicityiscool:

1. Never save your best for last. Start with your best. Expend yourself immediately, then see what happens. The better you do at the beginning, the better you continue to do.

2. The opening paragraph, sentence, line, phrase, word, title—the beginning is the most important part of the work. It sets the tone and lets the readers know you’re a commanding writer.

3. The first duty of a writer is to entertain. Readers lose interest with exposition and abstract philosophy. They want to be entertained. But they feel cheated if, in the course of entertaining, you haven’t taught them something.

4. Show, don’t tell or editorialize. “Not ideas about the thing, but the thing itself.”—Wallace Stevens

5. Voice is more important than image. “Poetry is not a thing, but a way of saying it.”—A.E. Housman

6. Story is more important than anything. Readers (and publishers) care a lot less about craft than content. The question they ask isn’t, “How accomplished is the writer?” but, “How good is the story?”

7. These rules, pressed far enough, contradict each other. Such is the nature of rules for art.

8. All writing records conflict. Give the opposition quality attention and good lines. The power of the the antagonists should equal that of the protagonists.

9. Shift focus often. Vary sentence structure and type; jump back and forth in time and place; make a good mix of narration, description, exposition and dialogue.

10. Be careful of your diction. A single word, like a drop of iodine in a gallon of water, can change the color of your entire manuscript.

11. Provide readers with closure. The last sentences of the novel echo something that happened earlier. Life comes full circle. “If I have a pistol in my first chapter, a pistol ends the book.”—Ann Rule

12. By the end of the work, the conflict should reach some satisfactory resolution. Not always a “happily ever after” ending, but something should be finalized.

13. Revise, revise. You never get it on the first try. Art shows up in rewriting.

14. Avoid excessive use of adjectives and adverbs; trust the precision of your nouns and verbs. Verb form: the shorter the better. Avoid helping verbs and progressives. Avoid passive voice. Avoid cliche and stock phrases.

15. Be interesting with every sentence. Be brief. Hemingway’s first editor at the Kansas City Star gave him this style sheet: “Use short sentences. Use short first paragraphs. Use vigorous English. Be positive, not negative.” Hemingway later referred to that list as “the best rules I ever learned for the business of writing.”

16. If you can be misread, you will be.

17. There are no rules for good writing. Those who break the “rules” successfully are the true artists. But: learn, practice and master the rules first. “You cannot transcend what you do not know.”—Sri Nisargadatta Maharaj

-Steven Goldsberry

flukystuff:

Addition:
also, again, as well as, besides, coupled with, furthermore, in addition, likewise, moreover, similarly

When there is a trusting relationship coupled with positive reinforcement, the partners will be able to overcome difficult situations.

Consequence:
accordingly, as a result, consequently, for this reason, for this purpose, 
hence, otherwise, so then, subsequently, therefore, thus, thereupon, wherefore

Highway traffic came to a stop as a result of an accident that morning.

Contrast and Comparison:
contrast, by the same token, conversely, instead, likewise,
on one hand, on the other hand, on the contrary, rather,
similarly, yet, but, however, still, nevertheless, in contrast

The children were very happy. On the other hand, and perhaps more importantly, their parents were very proactive in providing good care.

Direction:
here, there, over there, beyond, nearly, opposite, under, above,
to the left, to the right, in the distance

She scanned the horizon for any sign though in the distance she could not see the surprise coming her way.

Diversion:
by the way, incidentally

He stumbled upon the nesting pair incidentally found only on this hill.

Emphasis
above all, chiefly, with attention to, especially, particularly, singularly

The Quakers gathered each month with attention to deciding the business of their Meeting.

Exception:
aside from, barring, beside, except, excepting, excluding, exclusive of, other than, outside of, save

Consensus was arrived at by all of the members exclusive of those who could not vote.

Exemplifying:
chiefly, especially, for instance, in particular, markedly, namely, 
particularly, including, specifically, such as

Some friends and I drove up the beautiful coast chiefly to avoid the heat island of the city.

Generalizing:
as a rule, as usual, for the most part, generally, generally speaking, ordinarily, usually

There were a few very talented artists in the class, but for the most part the students only wanted to avoid the alternative course.

Illustration:
for example, for instance, for one thing, as an illustration, 
illustrated with, as an example, in this case

The chapter provided complex sequences and examples illustrated with a very simple schematic diagram.

Similarity:
comparatively, coupled with, correspondingly, identically, likewise, similar, moreover, together with

The research was presented in a very dry style though was coupled with examples that made the audience tear up.

Restatement:
in essence, in other words, namely, that is, that is to say, in short, in brief, to put it differently

In their advertising business, saying things directly was not the rule. That is to say, they tried to convey the message subtly though with creativity.

Sequence:
at first, first of all, to begin with, in the first place, at the same time,
for now, for the time being, the next step, in time, in turn, later on,
meanwhile, next, then, soon, the meantime, later, while, earlier,
simultaneously, afterward, in conclusion, with this in mind,

The music had a very retro sound but at the same time incorporated a complex modern rhythm.

Summarizing:
after all, all in all, all things considered, briefly, by and large, in any case, in any event, 
in brief, in conclusion, on the whole, in short, in summary, in the final analysis, 
in the long run, on balance, to sum up, to summarize, finally

She didn’t seem willing to sell the car this week, but in any case I don’t get paid until the end of the month.

fuckyeahcharacterdevelopment:

What is a Minor Character: Understanding the Minor Characters’ Role - http://pulse.me/s/8M6Db

fanfictiontutorials:

by  DarkDelusion

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(via shutupandwritegoddammit)