How to Write a Short Story StructureWriting a short story
The structure of short stories, how to write convincing fiction
Throughout the year you have been reading and listening to a large number of short histories and books. They may have realized that short story telling is one-of-a-kind because it is compact: they have to do all the work of a novel in a small area. Authors of short films must be full and succinct, and they must be sure to do the following:
If you are the author of fictitious stories, it will be your job to adhere to the above mentioned pattern, which are the hallmarks of an outstanding short film. All fictive stories are based on the short story structure below, regardless of subgenres (e.g. historic notions, sci-fi, fantasies, mysteries, etc.). Generate a story lead: Show the protagonist in actions, dialog or response.
Present the protagonist's personality. Present the environment: the protagonist's times, places and interrelations. Introduction and development of the issue with which the protagonist is confronted. Make the story and issue a highlight, e.g. a choice, move, entertainment or encounter, that shows the issue at its peak.
Developp a shift in the protagonist, e.g. a recognition or comprehension of something, a choice, an act, a regretful. Find a solution: How does the protagonist cope with her or not?
Story-structure & Writing
Today in an extract from Words Overflown By Stars, writer David Jauss is discussing and questioning the structure of tradition." There' s nothing second-rate about a tradition story. A lot of folks write big and million of folks just loves to see them. However, for some authors the shape itself may seem abnatural, not suitable for depicting the complexity of a very ambiguous and dislocated and chaotic and incongruous environment in which responses are suspicious and strange contrasts are part of everyday living.
Are you enjoying what the storyteller of Kafka's "The Burrow" describes as "the spirit that indulges in its own sharpness"? Are you often only discovering what you are written about while you write? After answering yes to many of these issues, you will probably find the conventional structure as an impediment to expressiveness rather than a useful guideline.
Look at some of the authors and readership who have challenged the assumptions that many of us take for granted. What do you see? Traditionally, the story is about a dispute - a demand that reduces Ursula K. Le Guin as a "gladiatorial point of fiction". History's motion ranges from increasing activity to culmination to the fall of disintegration.
Goyen in a Paris Review interviewee likened his compositional processes to the creation of the single locket of a quilt - "all separated and perfectly as I can do them. However, Kafka - like many modern authors who wonder how everyday lives will continue after a great traumatic experience and what can be unveiled about us and the people closest to us - is not about the how and why of the unimaginable catastrophic incident, but about its consequences.
It is odd in contemporary rhetoric to speak about the culmination of history when so many histories provide a subtile realisation or epic poetry rather than missiles. Thus, the angular contrasts and pulsating rhythm of an unorthodox story can be more interesting to the reader than the conventional structure, in which the structure nowadays often does not lead to a pop but to a squeak.
View this story about the different kinds of story structures.