Create your own Short StoryMake your own short story
Create your own short story anthology
It seems that there is a website that allows you to choose a series of shorts that are linked in a unique collection. Since then, it has become an interactivity that allows DJs to blend and perform, but textbooks are bluntly anti-interactive. You' re reading, you can give it to someone else, but instead of a booking office or mad readers' friend, there's little or nothing to do except deciding which titles are on the bookshelves next to which other list.
It could also be a gunshot in the arm for the sickly type of storytelling (at least for Steven King). Simply select your favourite shorts by topic. The best tales about kids. The best tales about sexual. The best tales of writers you've never even read about. The best tales that include handkerchiefs of bananas.
Galleycat, who referred me to the page, speaks about the financial side - how writers are remunerated for their work, and says that most of the tales available so far are sci-fi and fantasy, although I just hopefully the doors will open a long way to contain a barrel of other shorts.
However, I am hoping that the concept will work and they will begin to provide a much, much larger choice of story.
Create your own short story - Engelskkspråklig literatur og kultur
The aim of Jan-Louis NagelStep one is to develop an action. It should be inventive and have a certain amount of humor or distortion; for example, a character who is caught up in a dubious deal, who is a prey to his own plan, or it could simply be that in the series of incidents something unexpected happens that turns the tide.
As soon as you have an initial concept, you can begin to plan the action. Authors use various methods; some must have everything worked out in detail before they begin to write, while others have a fairly clear picture of where the narrative should go and how it will end, and the action evolves.
Most importantly, keep an eye on the initial concept, the turning point or highlight and the turn or humor at the end, then the remainder will usually do itself during typing, edit and rewrite. How you organize your action is critical for the readers to continue to read.
Structures or compositions mean the order of occurrences in a narration. You have many possibilities to write a history; the order of occurrences can be narrated in chronological order, in flashback or in review. Below are some samples of different ways to write your music. Begin near the end:
One of the techniques commonly used to generate tension is to begin the narration somewhere near the end and progressively unveil how the line of event has evolved into this tragic event. The book will thus invite the readers to continue to read what is essentially the purpose of storytelling.
It is not as dull a chronology as it may seem, as long as you can get the reader's interest, it is completely fine to begin with the beginning and the end. It' a tale in a story: Another, more sophisticated way is to make a history within another history, where the framework history is the real narration, but is supplemented by the "inner" history, so that the subject comes out on several layers.
Begin right in the heart of the action: A lot of authors want to begin the story in the midst of an activity (in media res), then take a backward stance and describe the conditions that lead to the scene. Such an opening can be an efficient way of arousing the reader's interest from the very beginning.
Another storytelling method is to begin with a small piece that anticipates the turning point or the sense of humor that comes later in the film. The result is a well thought-out narration in which all components merge into one entity. As a rule, a shorter storyline throws a small number of different character, especially because the storyline is not long enough to show more than one or two people.
There should not be more information about the character in a storyline than what is pertinent to the storyline. On the basis of the information about the character, the readers must regard their activities and behavior as believable and consequential. This attitude should be described with care and go along with the evolution of the action.
Each of these components forms a unity in a well done storyline that enhances the narration as a whole. First, it is important for a good tale to prevent stereotypes, both oral and textual. It is the speech that bears the whole history, therefore it is important to strive for an inventive, not stereotypical one.
Second, it is important not to be too zealous and to give the readers too much information. One of the real end is to stop the story if the readers can picture the result without knowing it. Generally speaking, the final write making will pay attention to what cannot be narrated, what can be more important in a good story than what is said.
This information, which is presented in references and imputations, gives a history substance. Hold the descriptions and information in strict adherence to what is necessary for the concept, the ambience and the action. Keep in mind that often "less is more" - and do not understimate the readers. A lot of lay authors simply carry on without much regard for the point of the history, and they end with a bewildering and illogical novella.
1. contact form: It is a shared perspective to see the events through the protagonists eye, who then tells the tale in a 1-star-show. Its advantage is that it gives the narration a more dramatically "self experienced" sense of identity with which the readers can more easily relate.
This point of views is however very restricted and tells only the history as it is seen and lived by the protagonists. 3. persons view: The author's restricted 3rd-person-view gives him more liberty and opportunities, since he can describe the plot and the protagonists from the outside and also tell what is going on in his head.
It gives the viewer the role of a spectator like a bow tie on the walls, who can simultaneously pursue the reflection of the main character. All-knowing outlook: An all-knowing gaze is the same as a storyteller who is everywhere - in the heads of all protagonists and at the same in describing the plot from the outside.
It is not so widespread in contemporary script; it was rather used in folktales and legend. Skilled authors will be able to include icons and metaphor in their narratives to reinforce their theme and give the narratives a lyrical note. However, if done with refinement, these items will certainly complement the storyline.
This may seem mysterious and even insignificant to a new readers, but after reading the book, a good book makes sence. To a certain degree, written creatively is like free-style sports. For example, incompleted phrases can describe a frantic or drama scenes, even if your text processing program probably doesn't like them.
It may seem hard to write a history if you have to take all these things into account, and to be frank, it is. Composing is a kind of arts that requires both skill and skill. With a little bit of creative practise, however, you can find your talents.
See Mind the Gap (Short Story Writing) for an example of a brief history and the technologies used in its constructio.