Elements of a good Short Story

The elements of a good short story

There are five important elements that many authors overlook. So what makes a good story? These signs answer the question "Who?". The setting answers the questions "When?

" and "Where? The conflict provides an answer to the question "Why?

The elements of a good short story

I am an author of many short novels on the Amazons. Nowadays I really like the short story that is making a real return, especially with the e-format lecture that is being made today. People who travel back and forth on the road, on the road or on vacation enjoy this kind of story because it can be quickly and easily reread and you can save many of them in your electronics unit.

What makes a'good' short story? Which elements determine the simple story without making it too difficult to read? Let us sketch out some fundamental hints that will help you start typing in this style or if you want to enhance what you are already doing.

It will be the one element that will determine your story as the linchpin around which all other elements will revolve. In particular, this applies if you take part in short story contests that specify a certain number of words that must not be overrun. Usually the short story is up to a max of 10,000 words, but many are often short, and some contests don't want the story to be longer than 2,000 words or even less.

Nowadays there is even'Flash Fiction' that can't be more than a few rows, much short of most poetry. All right, let's set a target of a new short story of no more than 10,000 words. When it exceeds this number, up to 15,000 to 20,000 words, we will be in a so-called "novella", which is essentially a longer short story.

Our short-story goal should be 10,000 words on that. It really does help me to limit the details or the complexities of the story. To me, some tales that begin in my head as focused on the class of short storytelling can become a novel or even a short story (20,000 to 40,000 words, approximately) or go beyond that area into novel state.

However, when I know that a certain story is not so long-lived by intuition, I stick to the 10,000-word-for-all. This number may be even smaller than this number. 25 pages later, and your new short blockbusters is ready. The one thing that tends to be the truth is the limitation of the number of persons in your short story; too many persons will of course need too much information about them, and before you know it, you have absorbed whole sections just by explaining the new person you have added.

Normally, I'd say you have about three or four major personalities (though so many), and you may have some fundamental "peripheral" personalities that provide a useful part of a camera, such as an inconspicuous buttoner who may not even need a name attributed to him, and see these other personalities as your "movie extras".

Don't overburden your lead with too much detail; we don't need to know too much about his past except in a moment, and we don't need to know anything about members of his or hers relatives or his or her boyfriends, unless it's about the basics. As we are constantly focusing on the subject of history, we cannot allow ourselves to fall into tangent when handling the short story.

Whichever your short story is, try to keep to the topic. Don't let yourself be cast into other areas unless you want to turn the story into a novel, a novel or a comic. Topic, topic, topic, topic. You should get the story concept itself. Obviously, if it is a history of conflict, your subject is this fundamental attitude of conflict.

Of course, a romance doesn't go off the rails into the world of academia, because there simply isn't enough room for everything, because your number of words doesn't allow it. Of course, unless your romance is in the room, so your story could then have a part, but it must be clear what the subject is, or they will be puzzled and give up about it.

Or maybe a romance between an orroid and a researcher works! So unless the topic of your story can move into other areas it can work, but you must always remain at the top of the fundamental topic as the clock runs out. The majority of the big short stories have a turn around that comes unexpectedly from the readers.

That is not necessarily an important point in storytelling, but it often works well, as the unanticipated qualities evoke the necessary "Oh my God" response that every writer yearns for. Remember the great TV shows The Twilight Zone and The Outer Limits, two of my favorite shows, and how these "short TV stories", as I call them, often have a turning-point towards the end.

It is the excitement of the unpredictable that ensures the luminosity of this type of type. After all, we didn't see that comin', the main character really is a bad guy, or the bad guy really is a main character, the liars tell the truths, and so on. To write great short stories often has the elements "things are not what they seem".

It was a good short story that got you wondering; what if? This is the kind of answer to our letter that we can elicit from our storytelling. Some short storymaking keeps things straight. We have already noted that limiting the number of words does not allow anything else.

There is nothing against that, and in fact it is much more helpful for us to concentrate on the basic issue we discussed above. It is also freeing because it can remove excess research, for example when you write a sci-fi short story or a film. After all, one of the best things about short story-writing is that it means that you can complete much more typing volumes without the sometimes "hard blow" of research that can go into a novel.

Many of the suggestions you have made as a'future reference' for project authoring can be translated into short story. You don't have to be a novel or even a novel to be good or even brillant. This short story is making a return; why not make a contribution to this exquisite expression of your literature aptitude?

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