Tag Archives: short stories

2 Indispensable Sites for All Short Story Writers

Well, I’ve found these two sites to be a great help to me over the years.  It would have been a great deal more difficult to find markets for my first short stories without them.  I’m talking about Duotrope and Ralan.

Duotrope is a dynamic, online database of fiction and poetry markets.  You’ve written a story and need to find out who might be looking for stories of your type.  Go to Duotrope, enter search terms such as genre, subgenre, number of words, payscale (pro, semi-pro, token, or non-paying) and your choice of a few others to narrow your search, then click Search.  You’ll see a list of potential markets for your story.  Clicking on any of the markets takes you to a Duotrope page with details about the market, with links to the market’s website, any restrictions on submissions, and statistics such as response time and acceptance rate.  Those statistics come from regular writers submitting their experiences to Duotrope, not from the markets themselves.

Before Duotrope, writers would go to the library to look at a reference book called Writer’s Market, published annually.  I do recommend the book, but Duotrope is online and free.  If you find Duotrope helps you connect with a market, you should contribute some money to them to help sustain their operation.

Using Duotrope, you can come up with a prioritized list of where you’ll send your story.  That list is tailored to your story so you’re not wasting your time, or some editor’s, with sending a story not suited to that market.

One more thing.  Duotrope is not just for short story writers, like me.  It’s also for novelists and poets too.

The other site I recommend is Ralan.  It’s operated by an author writing under the name Ralan Conley.  The full name of the site is Ralan’s SpecFic and Humor Webstravaganza.  SpecFic is Speculative Fiction.

There are several interesting features of this website to explore, but the part I used most is Antho.  That section can keep you up to date on what short story anthologies are looking for submissions.  You’ll see each open anthology listed, a general description, any limitations on submissions, pay scale, and a link to the market’s website about the anthology.

I’ve blogged about writing for anthologies before, and now you know where to find the information to get you started.  It’s fun, every now and then, to check the Antho list at Ralan to see what the anthology markets are looking for.  Every so often, this exercise will spark an idea for a story.  So in that sense this site can help at both ends of the writing process, both before and after the story is written.

Duotrope and Ralan are crucial resources for a beginning writer in providing guidance about where to market your stories, and even getting a sense of market trends.  Have you used them and have an experience to share, or are there other sites you’ve found helpful?  Send comments to–

                                                                         Poseidon’s Scribe

 

January 22, 2012Permalink

That’s a Great Story!

What makes a story great, or even good?  For this discussion I’ll concentrate on short stories, my main medium, but the principles apply to all fiction.  Fair warning:  I’ll explore the topic to the best of my ability, but if I was an expert on writing great short stories, I would be better known.

Philosophers since at least the ancient Greeks have puzzled about what makes one thing better or of greater value than another.  Is it really all subjective, in the mind of each individual reader, or are there some objective aspects on which we can all agree?  Further, what is meant by ‘great?’  Do we measure great stories by sales, by the number of favorable reviews, or by how the story stands the test of time?

For an interesting romp through the fields of quality, goodness, and value (in general, not specifically as related to stories) read Zen and the Art of Motorcycle Maintenance by Robert Pirsig.

Of course, people differ in the stories they like, and a given reader may change her own tastes over time.  So there must be a subjective component to any definition of a good story.  I touched on this in a previous blog entry.

Still, perhaps we can agree on a few elements that should be present in a good story.  Not every element need be present, and excellence in some of them can make up for mediocrity in others.  Further, as you’ll see, these aren’t exactly objective elements, so people could disagree about whether they are present or absent in any given story.  Here are my ten elements, expressed in one long sentence:

  • A good story deals with one or more aspects of the human condition and starts with
  • an attention-grabbing hook that introduces
  • a compelling protagonist, with whom the reader can identify, who is
  • dealing with a difficult problem, a problem
  • with some relevance to the reader’s own life
  • in a vivid setting that puts the reader right there while the protagonist
  • encounters more difficult obstacles along the way
  • with enough tension and suspense to keep readers reading
  • and with the protagonist resolving the problem in the end in a satisfying, logical way, with bonus points if the protagonist learns something, and more bonus points if the reader can’t guess the ending early
  • with the whole story told in strong, clear language that produces an emotional reaction in the reader.

As it turns out, it’s easier to write down that list than it is to write a story that hits most of those marks.  Thinking back over the best short stories you’ve read, are there common elements they share?  Have I left out any elements in my list?  As writers, we ought to be striving for greatness as we tell our tales, so it helps to know what separates good or great stories from the rest.  I welcome your thoughts, which you can provide by clicking “leave a comment” below, whether or not you agree with–

                                                                     Poseidon’s Scribe 

November 13, 2011Permalink

What? I’m Supposed to Learn Structure, Too?

Yes, you should know about short story structure to be successful in selling your tales.  Luckily, it’s not difficult.  To learn about structure, I mean.  The actual writing of successful short stories takes some effort, but so does anything worthwhile.

Let’s start with the basic structure of any story.  This structure is true for novels, movies, plays, even comic books.  We’ll then see how the structure applies to short stories in particular.

1.  The Hook.  This is an opening section meant to grab the reader’s (or viewer’s) interest.  I’ll have a few things to say about hooks in a future blog post. The hook needs to introduce your protagonist and his or her conflict.  It should set the story in a particular time or place.

2.  The Middle.  Here the protagonist tries several times to end the conflict, but fails.  It can even be the case that his or her attempts actually make things worse. In any case, the protagonist is tested in some way, either to physical limits or emotional ones, or both.

3.  The Resolution (or Dénouement).  In this section the conflict is resolved.  This usually involves the protagonist learning something, perhaps something about himself or herself.  The conflict could also be resolved by the protagonist’s death.

Aristotle called these parts the protasis, the epitasis, and the catastrophe.

 

 

The novelist Gustav Freytag later introduced the concept of the dramatic arc containing five parts: exposition, rising action, climax, falling action, and dénouement.  Essentially Aristotle’s epitasis includes the middle three elements of Freytag’s dramatic arc, though the falling action could be part of Aristotle’s catastrophe.  For simplicity here, I’ll stick to a three-part structure and use my titles for them.

 

In many story forms there will be no breaks or signposts separating these sections.  Even so, a reader who is looking for these sections will find them.  If you think back to novels you’ve read or movies you’ve seen, you’ll be able to recognize this structure.

With short stories, everything gets compressed.  The main feature of short stories is, in fact, their shortness.  This benefits the reader, since she or he can enjoy the story in a single sitting, thus remaining immersed in the world of the tale without interruption by the real world.  However, this brevity becomes the driving constraint for the writer.  The writer has to convey all three elements of story structure, but in very few words.

A short story needs a hook, like all stories.  However, an author of such tales cannot include a long description of the protagonist, other characters, or the setting.  Short stories have bare-bones hooks that just (1) introduce the protagonist, (2) introduce the conflict, and (3) set the story in time and place.

The middle section of a short story is likewise compacted down to the bare minimum.  There are fewer characters to interact with, few or no subplots, not even very many protagonist-testing events.  To keep the middle section short, some events or actions can be implied, letting the reader fill in the gaps in his or her mind.  This implication technique seems to contradict the “show, don’t tell” commandment, but it’s different, and it’s something with which I still struggle.

A short story’s resolution section also is a trimmed-down version, in comparison with longer works.  The section needs to resolve the conflict, possibly by having the protagonist learn something or otherwise grow as a person, or defeat the antagonist.  Nearly all the loose ends of the story need to be tied up in this section.  I say nearly all because it’s okay to leave some things unresolved or open to question–that’s life.

Throughout the writing of the short story, the author must take pains to keep a laser-like focus on the theme of the story.  Delete anything not directly supporting that theme, or necessary to having a meaningful story.

As you read more short stories by authors you enjoy, you’ll see how they employ the three-part structure I’ve described.  Soon you’ll be using it in your own stories, too.  As always, please send a comment if this has been useful to you, and address it to–

                                                                      Poseidon’s Scribe 

October 2, 2011Permalink

How to Create Life (in fiction)

In what way are all fiction writers like Dr. Frankenstein?  Answer:  we’re all creating life.  Mary Shelley’s famous character is a better metaphor for my purposes than the phrase “playing God,” because, like the Transylvanian experimenter, we have models to copy from — all the people we see and meet.

The problem is, as Dr. Frankenstein found out, creating life is difficult.  Some writers are better at giving readers a vivid mental picture of their characters than others.  What are the factors involved in creating believable, memorable characters?

Linda Seger answers that question well in her book Creating Unforgettable Characters, which I recommend.  Her technique for coming up with great characters is to (1) research the character, (2) create a backstory, (3) understand the character’s psychology, (4) create character relationships, and (5) develop the character’s dialogue voice.  The book also contains great advice regarding the development of supporting characters, nonrealistic characters, the use of stereotype, and how to solve the character problems you may experience as a writer.

Back in the 1800s, authors could furnish long descriptions of their characters, giving readers all the necessary details for understanding them.  Readers stopped putting up with that many decades ago.  Writers had to learn to imbed snatches of character descriptions into the action and dialogue as seamlessly as possible.  No more “time-outs” from the plot to devote a few paragraphs to the heroine’s matching dress and parasol.

Then writers found a technique for describing their main character’s physical appearance while remaining in that character’s point of view.  Simply have the character stare at a mirror or other reflective surface.  Sorry, modern writers don’t get to do that either; it’s been way too overused.

Complicating matters more, short story writers just don’t have enough space in the story for complete, well-drawn character descriptions.  A short story writer must create a memorable, identifiable main character using very few words or details and not slow down the plot while doing so.  There just isn’t the leisure of space for full character development in short fiction.

That’s why many writers turn to stereotypical or “stock” characters.  Not much description is necessary for these characters, since the reader will fill in the rest.  The problems here are: modern readers are offended by negative stereotypes, and use of stereotypes marks the writer as lazy and uncreative.  It is okay to use a stock character if you give her at least one aspect running counter to the stereotype.  That makes her more human and interesting.

So far this blog post reads like a list of “don’t-do’s” without giving much positive advice.  Therefore, here’s a list of do’s:

  • Make your plot and main character fit together such that only that character could have starred in that story.  It doesn’t matter which you think of first–plot or character–just ensure they fit.  Your story’s plot will become your protagonist’s private hell, so ensure it’s the specific corner of Hell your character fears most.
  • Get to know your major characters.  Develop a brief biography.  Put more in the bio than you’ll ever write in the story.  The bio should include elements (2) through (5) in Linda Seger’s list above.
  • Ensure the main characters in your story are distinctive and obviously different from each other in as many ways as possible.  You don’t want to confuse your readers.
  • Ensure your protagonist has some measure of the Everyman about him, so readers will identify with him and care what happens to him.

I’ll have more to say on creating characters in future blog posts.  It’s a major aspect of writing, of course.  In the meantime, (Bwaaa-ha-haaa!) it’s back to the laboratory for–

Poseidon’s Scribe

 

August 7, 2011Permalink

For Heart or Market?

Today’s question:  should you write for your heart or for the market?  (Doesn’t it always come down to love or money?)  Beginning writers often ask this, invariably because what they want to write (what their heart is telling them to write) is not selling in the marketplace.  Moreover, when they look at what is selling, they see only cookie-cutter books in neat, well-defined genres, which are not the type of thing they wish to write.

Ideally, of course, the two are the same—what you want to write is exactly the sort of story that’s selling.  Even better is to anticipate the market, to be writing now what the market will soon want, but doesn’t know it wants yet.

Most often, however, your heart is tugging you away from what readers want.  And that takes us back to the question. Should you plug along, scribbling words you enjoy that will never be read, or compromise your integrity and crank out prolefeed for the masses, hating yourself for it every minute?

For short story writers like me, the answer is yes…do both.  Short stories are small enough investments in time that you can write some tales for the sheer fun of it, and others that are more conventional and salable.

You may find yourself facing the same choice at two different times with the same story.  Say you choose your heart and write your tale the way you want to, markets be damned.  That certainly keeps your integrity intact and you feel good about that.  Then you submit for publication and the editor likes the story but suggests significant changes to make it more salable.  Now you’re faced with a decision again—twist the story you love all out of shape to satisfy readers, or keep your writing pure and visible only to those who inhabit your desk drawer?

As we further examine the heart-or-market question, it’s important to go back to your own goals as a writer.  Do you write for the money or do you write because something inside says you must?  If the answer is nearer one extreme than the other, that may help decide which path to pursue.   Trouble is, you might have two equal goals and that just puts you right back on the horns of the dilemma.

One thing to bear in mind as you hone your writing talent is that both the market and your heart are moving things.  We know that reader’s tastes change, and the next hot fiction trend may veer toward the stories you love writing but couldn’t previously sell.  In the same manner (though harder to believe) your own tastes in writing may change.  Once your muse gets bored, you never know what oddball ideas she may whisper to you next.  You could end up writing in a genre you had sworn you’d never condescend to.

If both your heart and the market are changing, then at some point they may approach very closely, and you’ll find yourself enjoying writing for the market.  When that happens, ride the wave as long as possible!

I can’t answer the question for you, but perhaps I’ve provided some factors to consider as you resolve the quandary for yourself.  Look at it this way–what would writing be without some kind of internal battle, some titanic inner war over the course of the soul?  As always, Dear Beginning Writer, your lonely struggles are appreciated and acknowledged by–

Poseidon’s Scribe

July 24, 2011Permalink

Are Outlines…Out of Line?

Do you outline before you write stories?  If you’re not a fiction writer, do you outline in preparation for any substantial non-fiction you write?  I do, but this won’t be an attempt to persuade you to outline, but rather a description of why and how I do it.  Perhaps you’ll benefit from knowing such things.

I’m sure many writers don’t use outlines.  Too much of a bother, they’d say.  Too confining, others believe.  Still others would profess that time spent outlining is time not spent writing.  For some, their outline is in their head, and that’s enough.

More power to them.  I can’t imagine writing without an outline.  For me, it’s not a bother, but rather a way to ensure my story stays on track, stays true to its intended purpose.  I suppose outlines can be confining, but I think if them as flexible guidelines, every bit as subject to editing and rewriting as the story itself.  I rarely adhere entirely to my outline anyway.  It’s true—the process of outlining takes time that could be spent writing.  However, the time I spend outlining is worth far more to me than time wasted writing a story that lacks direction or purposeful flow.  As for keeping an outline in my head, I’m too afraid I’ll forget something important.

How do I outline, you ask?  I always start with a mind map.  If only my teachers had covered mind maps in elementary school!  Instead, I first heard about them in my thirties.  What a marvelous note-taking and brain-storming method!  I recommend reading Use Both Sides of Your Brain, by Tony Buzan, but you can also learn about the technique through internet searches.  I use mind maps initially to form ideas for my story, letting my mind free-stream, and organizing my thoughts on the mind map.  Later I might refine or redraw the mind map as things clarify.

More often I use the mind map to create a document called “Notes for ___” where the blank is either the title of the story, or the initial idea for the story.  This Notes document will eventually contain the research I’ve done, as well as the outline fleshed out from the mind map.

That outline basically consists of: (1) a list of the characters, along with character traits and motivations, (2) a description of the setting, along with any research I’ve done about the setting, (3) some notes about the conflict(s) to be resolved (both external and internal), and (4) the listed series of events making up the plot.

I know—seems like a lot of work, doesn’t it?  But I write short stories, so my lists of characters are short, the settings and conflicts are few, and the plots are not too involved.  As important as outlines are for my short stories, I imagine they’ll be even more necessary when I take the leap into writing novels.  For me, there’s little danger of getting snared in the trap of forever planning the story and never writing it.  Every moment I’m outlining, my bored muse is screaming at me to stop that tedious business and get writing!

As I write the story, I keep the Notes at the ready and refer to them often.  In almost every case, I reach a point where the story wants to deviate from the outline.  This can occur when a minor character starts taking center stage more than intended, or when my outlined plot requires a character to do something he or she just would not do, or many other reasons.  Here I must decide whether to detour from the outline or edit the story to match the existing outline.  Most often I abandon the outline, but I’ve done both.

My process has evolved to this and will likely continue to change.  Perhaps the next time I address outlining in a blog, my method will have altered again.  The process you choose will be different and uniquely you; it may not involve outlines at all.  It’s my hope you enjoy your writing adventure as much as…

Poseidon’s Scribe

April 24, 2011Permalink

Just Short Stories? No Novels?

Should an aspiring fiction writer start with novels or short stories?  Don’t look to this blog entry for a concrete recommendation for your situation.  I can only tell you the path I took and my reasons for choosing it.  For you, success could well lie on a different path.

When phrased as an either/or choice – novels or short stories – the question itself is too limiting.  There are a variety of other avenues for the creative writer of prose, including flash fiction, novellas, podcasting, television and movie scriptwriting, and playwriting.  I’m sure I’ve left out some options and many more possibilities remain to be discovered, or forgotten ones rediscovered.  Some writer will have to be the pioneer who leads these expeditions.  Why not you?

While serving aboard a submarine many years ago, I thought of an idea for a story.  So grand was this story idea, I was certain it would make me both famous and rich.  To truly capture this story, only the novel format would do.  I was sure my tale would seize the attention of the country and even the world.  I could already see myself resigning my commission in the Navy, doing the talk show circuit, and traveling to book signings.

Though chock full of enthusiasm and energy, I was less well supplied with writing experience.  I’d heard all the arguments for starting with short stories, of course.  But such well-meaning advice could be safely ignored.  It simply didn’t apply to my case, I was sure.  Undeterred by these considerations, I set to work.

Actually writing the novel proved harder than I’d counted on, which surprised me at the time for some reason.  There was a lot to think about, with plots and subplots, characters, settings, even a theme.  How to keep it all straight?  Confident that my future fans would patiently await the great opus, I struggled on.

The struggle filled some time, like two decades or more.  At the end of that period I found I’d created a manuscript of which even my desk drawer was—and still is–ashamed.  To this day, the desk’s immune system occasionally rejects it and I have to gather up the pages, force them back in, and nail the drawer shut again.

In truth I had more to show from all the work than just an unpublishable manuscript.  Without knowing it, I’d been honing my skills in a harmless way, practicing the craft and making all my early mistakes.

Abandoning that first novel, I started another.  But doubts had set in about whether I was cut out for this.  A novel is a daunting task and a significant investment of time with very uncertain payoff, particularly for the beginning fiction writer.  It’s easy for discouragement to build up and eventually overwhelm enthusiasm.

I then read The Mammoth Book of New Jules Verne Adventures, edited by Mike Ashley and Eric Brown, published by Carroll and Graf in 2005.  It’s a marvelous collection of short stories inspired by Jules Verne, all written by modern authors.  As a Jules Verne fan, the book inspired me.  I wrote my own short story, a work that would have fit well in that collection, or would if they decided to put out a second anthology in a similar vein.  That story, “The Steam Elephant,” appeared in Steampunk Tales issue #5.

That started me off writing more.  There are several reasons why I’ve enjoyed my switch to short stories.  I can churn out many more of them per year.  They keep my ever-fickle muse interested and focused.  It’s easier to test out different genres.  Short stories represent a good method for further growth as a writer while getting the positive feedback of more frequent acceptances.

At some point I’ll return to the novel length story.  The average non-writer doesn’t regard an author as serious until she or he has published a novel.  Certainly the pay for a published novel is greater as well.  Who knows, one of these days I may dust off the two novels I started, rewrite them, and send them out for consideration.  If you’re engaged in writing a novel equally as good, perhaps I’ll join you on the talk show circuit!  Until then, I’ll remain a short story writer, and—

Poseidon’s Scribe

March 13, 2011Permalink