How to Write an Effective Story

Making an Effective History

Find out how to write effective story ends and avoid the usual types of bad ends. You can sell your story through an effective headline. Genuine storytelling requires certain skills. An experienced writer knows that he can accidentally spoil a good story if he makes a bad choice. A story's main purpose is to define a high-level requirement and to capture who, what and why in a simple and concise way.

Writing Dash Feature

It' the National FlashFictionDay on Wednesday - the first ever - and it's an exiting time for me and many others who have specialized in this particular kind of Prosa. Some years ago I released a novel with fictional flashing named Sawn-off Tales. But, until recently, I hadn't even heared anything about microfiction or flashy fictions or suddenly fictional or brief story.

Fifty eight tall story, each exactly 150 words long. Nobody wants to release shorts, especially not of a stranger. What about a story that took less reading than suppressing a sneezing? It was when I commuted from Manchester to Liverpool that I began to create these ultra-short narratives - cut-off narratives, as I call them: a 50-minute trip, often extended by windshield wipers failing, battles on the trains, or getting trapped behind the "stopper".

I had a notebook, like most people. I was wondering one of these days when I was thinking about the number of trips by rail that it would take to write a novel, I began to wonder how long it would take to write one. I had created a series of independent tales, each about 1,000 words long.

As I was about to get rid of the notion when I found out about a new website named Phone Book that needed 150-word tales to be sent as text-message. History could be much cheaper than I thought, with a slight worsening of life style. It had become a quick, agile little thing that could turn to one sixtieth and run away quickly.

When I came to Birchwood, I had it on 500 words, at Warrington on 300, at Widnes 200 and when the platoon entered Liverpool Lime Street, it was there - 150 words, a half page story; with a beginning, a center and an end, with characters evolution and description, all in one Polly Pocket game.

As small as they were, these tales had a tremendous hunger; little big things that devoured things like chickens'uggets. It was also possible that the custom of cutting down the text got out of control; I once took away the last two phrases of a story and found that I had narrowed them down to a page.

Fortunately, the phone book liked my tales and released them, and I went on to eject them every single working hour on the platoon, while the guards were announcing the lateness, the coach was rolling by and a number of people were sitting next to me as they were rereading over my shoulders. I' m not commuting on this line anymore - my new position includes the whole northwest of England with rail travel to Blackpool, Lancaster, Eastern Lancashire, Western Cumbria and Cheshire.

However, the last I was on a parade to Lime Street, the guard's ID card took me right back with it - because that's where I got the name for all my personalities. Begin in the center. In this very brief version you don't have enough space to create a scene and create your own personality.

You' re not going to have much in the way of describing your character if you write ultra-short. A name can only be useful in a micro-history if it provides a great deal of extra information about the story or if it stores it elsewhere. There is a risk in microfiction that much of the discussion of history will take place when the readers have ceased to read.

In order to prevent this, put the resolution in the center of the story and give us space, while the remainder of the text rotates, to look at the scene together with the storyteller and reflect on the choices his people made. That last line is not the end - we had that in the center, keep in mind - but it should give the readers something that will resound after the story.

This should not complement history, but lead us to a new place where we can think further about the notions in history and ask ourselves what all this means. The story in the last line is not a story at all, and after we have read a good bit of microfiction, we should try to comprehend it, and in this way we will like it as a fine-peg.

You write late, you walk away. Make a rock chunk from which to knock out your storyboard. Tales can be much cheaper than you think, with a slight worsening of life style.

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