A Short Narrative StoryFor a short story
Structure of a short story
The story is the story, regardless of length, size or output devices. Suppose the aim of narrative notion is to make a greater sense that we cannot perceive in our own lives, the processes of conveying that sense will always be the same. Dramatica is the most precise historical theoretical tool available today, and it is founded on the assumption that every full story is truly an analogue to the problem-solving processes of the individual spirit.
If a movie or novel differs from this pattern, whether due to a missing storyline or a lack of consistent motivations for characters, the public immediately accepts it because each of them has their own spirit. You are all well acquainted with this whole thing. They' re all history professionals.
Irrespective of the resemblances between the way in which every person is construed, no two lifetimes are exactly the same. Same for whole histories. Se7en's centre psychotics are totally different from the minds of popular prince The Little Mermaid. They both work under the same processes and the same dynamics, but their personality and the way they solve issues could not be more different.
This is because they both honor the analogies between history and spirit. Why classify a story as an analogue to the mortal brain? Now, for a start, the reasons why character, plot, subject and genre have ever emerged become clear.
Players are designed to express the motivation in the spirit of man. In the same way that there are motivation within a particular spirit to resolve a dilemma, slow it down or prevent it all together, there are figures in a story that illustrate the same motivation. The plot emerged as a true-to-nature depiction of the methods that the common sense investigates in troubleshoot.
All the different policies and ideas within a story imitate the acts and responses of the spirit to perfection. The subject, often seen as a yardstick for judging personalities and their acts, was designed to reflect the judgements of the mortal spirit. Deciding whether it is profitable to continue the trial or whether you can rely on how things change are things that every person sees a millionfold in his or her own life every year.
This is the mechanics of a story using Thme. And, lastly, genre was made to express the end behind a mind's effort to resolve a dilemma. However, in the world of the man's intellect, which solves a particular issue, it becomes clear that these types are really designed for a particular purpose: Action/Adventures are designed to amuse and please with blasts and rapid cuts, Period Pieces are designed to provide information while at the same time researching mankind's relations over the ages.
In summary, each part provides a powerful example of the spirit of man at work. Every part is combined into a full story. However, when it comes to short histories, it becomes difficult to investigate the whole thing. There' s just not enough to go every which way and to represent exactly the totality of the whole in work.
To give the public just enough of the flavour of the "mind" of a story to which they become addicted by seeing an writer as someone they can rely on to give them the kind of significance for which they go to story. The writers could just concentrate on the nature and make sure that the core nature evolves over the course of the times and becomes a sensible solution.
Or, they could just volunteer a plot and construct a story that ends sensibly or, of course, evolves through four acts. You could even edit through your play by taking a little character, plot, subject and genre with you to take a look at something bigger.
The latter is followed in John August's wild and amusing story, The Variant. August provides in the short 23-page spread a summary of all four sides of the story, which points to something very profound. Essentially, it is the last part of a potentially exciting overall story.
Do you want the whole story of what happens next? There are never any slow-moving tracks to the story that flow together smoothly, a story you just finished reading, you never want to lay them down again and return to it, just continue from page 1 to 25. Insinuations of spontaneous nature and a clear end, which actually means something, tempt the spirit of man to wish for even more.
A further great example of this is Scott Frank's short story The Flying Kreisslers. Frank concentrates on four very clear acts, a piece of plot that conveys the sense of a whole story. Since there aren't enough fictitious properties to investigate every facet of the individual spirit at work, Frank decides to focus his narrative on the main character's line of passage and follow Ivan's evolution from manipulation to manipulation.
With less than 2000 words, it provides a feeling of integrity, a piquant piece that honours the spirit's naturally problem-solving processes. For the short story, they want an artist to try to respect them by trying just enough of the larger image to give them the impression that there might be something bigger at work here, something more similar to their own ingenuity.
When writers want their short histories to become treasured works, they do well to explore how they can employ the problem-solving processes of the spirit through character, action, subject, and genre.