Engaging Short StoriesExciting short stories
So many wonderful short stories.
Write an exciting short story
Being a young screenwriter, I always try to draw a lesson from the tales I am reading - always in the hope that I will be able to draw general teachings, especially with regard to structures. However, while I know that I am studying a great deal, I think that it is actually very seldom to be able to'borrow' the texture of another story: each history has its own shape and you can only find this shape by simply composing the one.
As I think about texture, I find it useful to think about the power of a history - how to capture and build it. First is usually done by the introduction of the readers to a charism. I' ve never done a little thing where I don't do it right away. When this is too prescriptory, stop for a while and think about the countless shapes that a need might take.
I' m not introducing too many personalities because I want my readers to fully engage in the personalities I have. I' m not trying to hike, but to push the history with every line I am writi. I was amazed when I started typing how simple it was not to do this.
It was often "transitions" - phrases that lead the readers from one instant to the next, which I thought should be there. For example, when a pair spoke in the galley and wanted to go for a ride, I thought I had to describe them as they left the building and got into the vehicle.
However, I have been reading many great shorts this year, and the best ones are just briskly skipping the beginning of a tale and pausing to light up the times that are important on the way. Well, when I move from one sequence to the next and find it tedious, I stop wriggling and jump to the next instant that inspires me.
Shorts are either standing or falling at the end. Shorts are standing or falling at the end, but I find this the hardest part to do it right. A narrative conception is sometimes tied in its end and the whole thing comes towards you as an inseparably connected notion. It is not so difficult to write the ending in these cases.
However, if this is not the case, it can be very hard to find the right time to stop. A thing that I have found useful lately is the question: "What is the central point of this film? Did I end this instant? And if the response is "yes," then the history is over, and there is no need to go any further.
For more information about how to write feature films, read Sophie Cooke's hints and Helen Godfrey's diary about the structure of your film.