7 Ways to Start Your Science Fiction Short Story

Oh, those choosy readers! So pressed for time, so easily distracted. If you don’t begin your SF short story in an imaginative, attention-grabbing way, they won’t read further. Let’s find out how to hook them.

Author Charlie Jane Anders wrote a great post citing seven killer openings for SF short stories, with classic examples for each one. I highly recommend her post.

Here, in brief, is my take on her list, with examples from my stories:

1. Set the Scene. Put us ‘there’ right away. Immerse us in the strangeness of your setting. Most SF stories begin this way. Use when setting is important, but get to the plot’s action soon after.

Personal Example, fromThe Sea-Wagon of Yantai:”

2. Introduce Conflict. Hit us with the problem first. What is your character dealing with? Fill in other details later. Good way to hook readers, but a bit chancy if your bomb’s a dud, or if the rest of the story doesn’t live up to its start.

Personal Example, fromA Tale More True:”

3. Mystify. Intrigue and confuse us. Cast us in without knowing our bearings yet. A risky way to start, but when it works, it works well.

Personal Example, from The Cats of Nerio-3:”

4. Gather ‘Round, Children. Have a talkative narrator speak to the reader in third person, often addressing the reader as ‘you.’ Often used in humor stories, but you need to keep that narration intriguing, and sustain it.

Personal (though approximate) Example, from Reconnaissance Mission:”

5. There I was. Have the talkative narrator, the main character, self-identifying as “I,” speak to the reader in first person. Often these stories start in a reflective, essay-like tone. Helps readers identify with the main character right away, but you need to get to the plot action and the scene-setting soon after.

No Personal Examples

6. Start With a Quote. This can be a quote from another document, or (more often) a character speaking. Good way to introduce a character’s personality right away, but if done wrong, this beginning can come off as juvenile.

Personal Example, from The Unparalleled Attempt to Rescue One Hans Pfaall:”

7. Open With a Puzzle. Combine 2. and 3. above to introduce a conflict while also mystifying. This is the most difficult of the seven methods. Great when it works, but awful when it doesn’t.

Personal Example, from Moonset:”

You should work hard on the opening lines of your short stories. Try several, or all, of the examples above until you hit on one you feel is right. Attempt, in a sentence or two, to (1) grab the reader, (2) introduce the main character, (3) present or suggest the conflict, (4) set the mood or tone of the story, and (5) perhaps give a hint of the ending for circular closure.

Now go out and grab your readers, using the methods of—

Poseidon’s Scribe

6 Ways to Get Those First Words Typed

There before you glows that blank word processor screen. It’s staring back at you, mocking you. It’s daring you to type something, but you don’t know how to begin. It’s so intimidating.

You’ve been thinking about your story a long time, plotting it, developing the characters, working on the setting. You have notes, outlines, plot diagrams, and character descriptions up to here. Now it’s time to write, but no words are coming out.

Friend, you’ve surfed to the right blog post. I’ll get you through this. Most likely, you’re suffering from one of six conditions making it difficult to start. For each condition, I’ll suggest a remedy.

Condition 1: You’re so comfortable with planning your story that the idea of actually writing it paralyzes you. Remedy: Start writing an email to your Mom, or someone else with whom you correspond informally. Write: “Dear Mom, An odd thing happened today.” Then start writing your story. After all, it’s just an email to your Mom…or is it?

Condition 2: You’re looking for excuses to avoid writing. Remedy: Turn off, shut out, and eliminate all distractions. Then take five minutes to immerse yourself in your story notes again…regain the enthusiasm you had when this story was just a glorious notion in your mind. Then let words flow.

Condition 3: You’re afraid your writing will stink, that your first words will be so awful they’ll confirm your suspicions that you’re no writer. Remedy: You may have a misconception about first drafts. Trust me: your final story will look nothing like the first draft you’re about to write.

Condition 4: You believe, if the first words are this tough to write, the rest of the story will take forever. Remedy: Actually, the first ones are the most difficult. Beginning any task is the hard part. Lao Tzu said, “A journey of a thousand miles begins with the first step.” Accept this, and take that first step.

Condition 5: You’re afraid the hook (the beginning of the story) won’t seize the reader’s attention. You’re so worried about this that you can’t start. Remedy: Start writing a different section of the story. Come back to the hook later. You might even find that the “later” place you started is the real hook.

Condition 6: You believe you must write the hook first, and can’t imagine a way to entice the reader. Remedy: Okay, if you really must start with the hook, start by writing a bad one. Then write twenty alternate versions, trying diverse ideas and different ways to grab the reader’s attention. If none of those are any good, keep writing hook variants until you have one you like; you’ll know the one when you write it.

I’m confident one or more of these remedies will help you. When you successfully begin typing, take a moment to laugh in triumph at the once-blank screen that stymied you moments ago. You can tell it you won; you conquered it, with a little help from—

Poseidon’s Scribe

15 Writing Virtues

Many people believe you aren’t just stuck with the way you are now, that you can better yourself by persistent act of will.  I’m one of them, but let me just focus on self-help as it applies to the writing of fiction.

Benjamin_Franklin_1767Benjamin Franklin was an early example of someone who developed a program of self-improvement.  His method was to list thirteen virtues along with a brief description, then he would set about to focus on one virtue per week.  Franklin actually kept a log of this, giving himself a black mark on days he fell short.  Presumably, by focusing on one virtue at a time, it did not mean he was abandoning the others during that week.

Examples of his virtues include:

1. Temperance.  Eat not to dullness; drink not to elevation.

4. Resolution.  Resolve to perform what you ought; perform without fail what you resolve.

In the spirit of Benjamin Franklin’s list of virtues, I’ll offer some virtues of writing fiction.  I’ve grouped them into ‘process’ virtues dealing with how you write, and ‘product’ virtues dealing with aspects of the manuscript itself.

The Poseidon’s Scribe 15 Virtues of Fiction Writing

Process Virtues

1.  ProductivityFill hours with writing, not researching or time-wasting activity.

2.  Focus.  Turn off your inner editor during the first draft.

3.  Humility.  Seek other trusted people to critique your work; be receptive.

4.  Excellence.  Only submit work you’re proud of.

5.  DoggednessBe persistent in submitting to markets; be unshaken by rejections.

Product Virtues.

6.  Relevance.  Ensure your work passes the ‘So What?’ test.

7.  AppealHook readers from the first paragraph.

8.  Engagement.  Put your characters in conflict with something or someone; make the story about conflict resolution.

9.  Empathy.  Create vivid, engaging characters.

10.  Action.  Weave logical, interesting plots with appropriate causes and effects.

11.  Placement.  Provide clear but unobtrusive descriptions of the story setting, without overshadowing character or plot.

12.  Meaning.  Ensure your story’s theme explores eternal human truths.

13.  Style. Seek your own voice, then follow it.

14.  Communication.  Ensure your characters’ dialogue is appropriate and advances the plot.  (Mentioned here, here, and here.)

15.  Skill.  Salt your tales with symbolism and appropriate metaphors.

Your list would likely be different.  One way to go about it is to examine critiques of your fiction you receive from members of your critique group, from editors, etc.  Are there repeated criticisms?  Turn them around and express them as a positive affirmation or goal, not as a negative to avoid.  Those goals represent things to work on, and would be on your own list of virtues.

George Carlin fans would likely point out to me that there’s no such thing as self-help.  People who get their list of virtues from their critique group, or from this blog post, aren’t exactly engaged in self-help, since they got help from others.  Moreover, if beginning writers truly helped themselves get better, then they didn’t need help.  Witty gags aside, it can be a comfort to a struggling writer that there exist methods for improvement, but all I offer is a framework for starting; the writer must shoulder the burden of actually doing the work to improve her writing.

I’d love to hear if you’ve found my list useful, or if you’ve developed your own list, or even if you’ve embarked on a completely different method of improving your writing.  Let me know in your comments to this blog entry.  For now, back to improving his writing goes—

                                                            Poseidon’s Scribe

Giving and Receiving…Critiques

‘Tis the season for giving and receiving, so I thought I’d discuss critiques of fiction manuscripts.  Last time I did so, I said I’d let you know how to give and receive critiques.  My critique group meeting 2experience is based solely on twenty years of being in small, amateur, face-to-face critique groups; not writing workshops, classes, or online critique groups; so the following advice is tuned to that sort of critique.

First of all, to give the critique, keep the following points in mind:

  • Read the submitted manuscript straight through once, and just note where you were “thrown out of the story” for some reason.  Jot down why and come back to those points later.
  • Re-read the manuscript again. You could mark some of the grammar or spelling problems, but don’t concentrate on those.  The author wants you to find the bigger stuff.
  • Where there are stand-out positives (“Eyeball kicks” in TCL parlance) note those and praise the author.  The word critique should not have solely negative connotations.  A positive comment from you could keep the author from later deleting a really good description, metaphor, or turn of phrase.
  • Be clear and specific in the comments you write; avoid ambiguity.
  • Look for the following story elements and comment if they’re not present or they’re weak:

1.  Strong opening or hook

2.  Compelling, multi-dimensional, non-stereotypical protagonist with human flaws

3.  A problem or conflict for the protagonist to resolve

4.  Worthy secondary characters, different from the protagonist, who do not steal the show

5.  Vivid settings, not overly described

6.  Consistent and appropriate point of view

7.  Appropriate dialogue that moves the plot and breaks up narration

8.  Narration that shows and doesn’t tell.

9.  A plot that builds in a logical way, events stemming from actions that stem from understandable motivations

10.  A story structure complete with Aristotle’s Prostasis, Epitasis, and Catastrophe (beginning, middle, and end)

11.  Appeals to all five senses

12.  Active sentence structure, using passive only when appropriate

13.  Appropriate symbolism, metaphors, similes

14.  A building of tension as the protagonist’s situation worsens, followed by brief relaxing of tension before building again

15.  An appropriate resolution of the conflict, without deus ex machina, resulting from the striving of the protagonist, and indicative of a change in the protagonist

  • If your group shares comments verbally, do so in a helpful, humble way.

You think all that sounds pretty difficult?  Ha!  It’s much harder to receive a critique.  When doing so, here are the considerations:

  • Submit your work early enough to allow sufficient time for thorough critiques.  Be considerate of your group members’ time.
  • While being critiqued, sit there and take it.  No comments.  No defensiveness.  Just listen to the honest comments of a person who not only represents many potential readers, but who wants you to get published.

So, when it comes to critiques, is it better to give than to receive?  In contrast to most gifts, it’s harder to receive them, but it’s still a toss-up which is better overall.  But perhaps both are just a bit easier for you to deal with now, thanks to this post by—

                                                      Poseidon’s Scribe

December 30, 2012Permalink

Sorry, New Rule. You Can’t Do That!

In the original Star Trek TV series, there’s an episode where Captain Kirk invents a card game called Fizzbin in which he makes up the rules as he goes along.  The comic strip Calvin and Hobbes featured a game called Calvinball which may never be played by the same rules twice.

If you’re a writer of fiction, you might consider yourself to be playing such a game, too.  According to W. Somerset Maugham, “There are three rules for writing the novel. Unfortunately, no one knows what they are.”  With apologies to the famous novelist, I’d say the game has too many rules to memorize and they change with time, according to the tastes of readers.  Only by playing the game well can you can make money selling books.

You might try to emulate great writers of the past and imitate their writing styles, in an effort to achieve success.  Bad idea.  The rules were different in their time.  Let’s cover some of those former rules.

1.  Take all the time you need to create a vivid description, to ‘paint’  with words.  Writers of the 19th Century and earlier used extensive portrayals to convey the appearance of a scene or character, multi-paragraph descriptions abounding in adjectives.  That worked well in an era without movies or TV, but readers won’t wade through such long-winded descriptions today.

2.  Adverbs exist for a reason; use them.  Authors once used adverbs with abandon. Adverbs modify adjectives or verbs and often end in ‘ly’ like ‘crazily.’  These days it’s considered lazy to use too many adverbs, a sign you didn’t take time to select a powerful enough verb.

3.  Demonstrate your skill as an author in your narrative paragraphs; dialogue only interferes with that.  At one time, fiction was mostly narration, with occasional dialogue.  We’re now in an age of character-driven stories, and readers want characters to talk more.  No long, boring narrative paragraphs, and less narration overall.

4.  Incorporate a rather dull character who needs everything explained to him (even things he already knows); that’s a clever way to explain things to the reader. There was an era when authors could use this technique even if it strained the conversation a bit.  These days, that’s no longer tolerated and there’s even a term for it–As You Know, Bob or AYKB.  AYKB’s are tempting, an easy trap to fall into even if you make every effort to avoid them.

5.  Bring the narrator in as an entity the reader can trust, as one who helps foreshadow future events.  In a bygone past, writers could have the narrator speak directly to the reader.  And now, Gentle Reader, let us discover what Annabel must be thinking about this latest development.  That voice could be used to foreshadow future events in an ominous tone.  Little did Frank know, but his secure life would soon be altered forever.  Understand, it’s still okay to use foreshadowing, but do it with subtlety, and not with the narrator speaking to the reader.  Today that’s referred to as narrative intrusion.

6.  Find clever new ways to express your ideas.  As centuries of writers did this, many of the word combinations they used were so good the first time, they got used again, and re-used many times over.  And became clichés.  Now you don’t get to use those clichés, unless you add some twist on them.  Go think of your own clever word combo that might become a future cliché.  This rule didn’t change, but sorry, you can’t use the same tired clichés.

7.  Ease into your story by introducing the reader to the setting, time period, and major characters before any action occurs.  Readers in those times had nothing to compete with books for entertainment, and had the time to curl up near the fire and read a cozy story by its light.  Times are different.  You must grab your reader by the throat with a first sentence or paragraph that demands attention.  It’s called a hook, and stories without a good one stay un-bought.

So, are you up for a game like Fizzbin or Calvinball?  May the best writer win!  Unfortunately, the game’s rules aren’t known by you or—

                                                                    Poseidon’s Scribe

 

November 25, 2012Permalink

Why You’ll Love the Snowflake, Too

The snowflake I’m blogging about today doesn’t have much to do with winter weather, but instead a writing method developed by author Dr. Randy Ingermanson.  I won’t go through his method here, since he does a much better job describing it on his site than I could, but I’ll just discuss why I like it and why I think you will, too.

First, a snowflake is a good metaphor for a story (no two alike, many quite intricate and beautiful), but that’s not how Dr. Ingermanson means it.  He’s referring to the mathematical fractal construction that starts with a simple shape, adds to the shape according to certain rules, and beautiful complexity emerges, with the final shape looking like a snowflake.

In the same way, he’s suggesting you start with very basic ideas about your story, then add to those ideas in a logical manner, building more detail with each step.  Near the end of his ten-step process, you’ve got a thorough plan for your story.  The tenth step is to write the story, which is much easier when you have your plan in front of you.  You’ll find you don’t get stuck as often, or frustrated at boxing yourself into a plot situation your characters can’t get out of, at least without major changes.

I’ve discussed earlier how plot, characters, and setting have to fit together such that the story couldn’t really take place with any other characters, and the plot actions seem both inevitable and surprising, and the setting is the necessary one for the story.  Ingermanson’s Snowflake Method makes this happen for you, by incrementally developing plot, characters, and setting, starting with sketchy concepts and adding more detail to each in turn until you end up with a comprehensive plan for your story and everything seems to fit.

How do I use the Snowflake Method?  First, I’ve been writing short stories, and the Snowflake is intended for novels, so I abbreviate it a bit, sometimes using mind maps for some of the steps instead of writing them out fully.  Second, I add a step concentrating just on the story’s hook, the opening sentence and paragraph.  Third, I sometimes add a step to construct a motivation chart using a modified Root Cause Analysis chart to make sure my characters take believable actions in accordance with their personalities.

One downside to the Snowflake is the fact that it requires so much time for planning the story, and actually writing it must wait until the last step.  Meantime, your muse may be screaming at you to cease all this planning stuff and get on with things.  A screaming muse is actually good, much better than what comes next.  If your muse starts feeling ignored, she will get bored and go away, or start looking for other story ideas to intrigue her.  So keep thinking of the Snowflake as a method for getting to know your story better and better, not as a dreary planning exercise.  Focus on the emerging details; promise your muse that you’ll be doing actual writing soon.

Dr. Ingermanson has come up with software to make the Snowflake Method easy and fun.  Cheapskate that I am, I have not yet purchased it, but that package might be right for you, especially if you are struggling to accomplish the steps using word processors and spreadsheet programs.

Consider giving the Snowflake Method a try.  Visit Dr. Ingermanson’s site.  Whether it works for you or not, I’m sure he’d like to hear about your experiences with it.  And of course, if you’d click on the “leave a comment” link below, so would—

                                                            Poseidon’s Scribe

October 28, 2012Permalink

Hook ‘em, So You Can Reel ‘em In

How will you begin your next story?  The beginning, called the ‘hook,’ is important.  These days readers don’t have much time.  Other things like TV, video games, and the Internet compete with your story for their attention.  If your first sentence or paragraph doesn’t grab them, they’re on to doing something else.

Here are some examples of great hooks used in novels as chosen by the editors of American Book Review:

  • Call me Ishmael.  Moby-Dick, Herman Melville 
  • Marley was dead, to begin with.  A Christmas Carol,  Charles Dickens
  • It was a bright cold day in April, and the clocks were striking thirteen.  1984, George Orwell
  • You don’t know about me without you have read a book by the name of The Adventures of Tom Sawyer; but that ain’t no matter.  Adventures of Huckleberry Finn, Mark Twain
  • Someone must have slandered Josef K., for one morning, without having done anything truly wrong, he was arrested.  The Trial, Franz Kafka
  • Mother died today.  The Stranger, Albert Camus
  • There was a boy called Eustace Clarence Scrubb, and he almost deserved it.  The Voyage of the Dawn Treader, C.S. Lewis
  • He was an old man who fished alone in a skiff in the Gulf Stream and he had gone eighty-four days now without taking a fish.  The Old Man and the Sea, Ernest Hemingway
  • It was a pleasure to burn.  Fahrenheit 451,  Ray Bradbury
  • The cold passed reluctantly from the earth, and the retiring fogs revealed an army stretched out on the hills, resting.  The Red Badge of Courage, Stephen Crane

These beginnings work well for several reasons.  They give us an early idea what the story will be about.  They establish the tone of the story, and something about the attitude of the narrator’s voice.

But most of all they seize our attention and compel us to want to read more.  What gives them this quality?  It’s hard to find a common attribute just by looking at them.  They seem to appeal for different reasons.

Writer Darcy Pattison has grouped the different beginnings into categories.  This is helpful since one category might work better for the start of your story than another.  Knowing the category can give you a starting point for developing your hook.

Many of the beginnings in the list start with a sense of the ordinary, and then give the reader something that clashes or is jarring somehow.  We’re left with a puzzle, an oddity, a question that can only be resolved by reading further.  So read on we must.

Those without that twist added to the ordinary seem to possess a different quality.  They settle us in, set a mood, fluff up our pillow, put on some appropriate music.  We’re now comfortably in the story, transported to the author’s world right from the start, and now that we’re there we might as well read on to see what the place is like.

Each of these beginnings without exception is easy to read.  None have rare or difficult words to stumble over.  All have rhythm, and almost poetic brevity.  Not a word is wasted.

How do you write an opening like these?  Heck if I know; these are some of the best ever written.  Ask one of the world’s greatest authors.

With that task added to your to-do list, perhaps we could set our sights a bit lower for now.  How do you write an effective story beginning?  For one thing, it takes time and many trials.  The beginning is the hardest part to write, usually takes the longest, and usually involves the most revisions.  You might decide to skip the hook and come back to it later as the story evolves.  You might like to write a first version of the hook knowing you’ll revisit it over and over.  In any case, be prepared to spend the time and thought to craft it right.

To learn much more about how to write story hooks, read Hooked by Les Edgerton.  What an invaluable resource!

With regard to beginnings, we’ve reached the end.  Remember to check back at this site next week for further ramblings about writing by–

                                                                 Poseidon’s Scribe