Short Story RulesBrief Story Rules
Kurt vonnegut's 8 rules for creating a short story
Bagombo Snuff Box, the renowned postwar novel by Kurt Vonnegut, sets out these eight rules for filming: "The rules for filming: how to make a short film": When you open a door and sleep with the whole wide open sky, your story will become a kind of phgn. The reader should have such a full comprehension of what is going on, where and why, that they can end the story themselves, should roaches devour the last pages.
As most rules are there to be violated (as Vonnegut himself said). However, his typing hints can serve as a point of departure or as a yardstick with which you can assess what you have already typed. Which are your rules for short feature film composition? The Skyscraper Magazine said he was "one of the best short story artists in a long time".
Robley's poems have appeared or are in preparation in poets such as Poety, Prairie Schooner, Northwest, Beloit Journal, RHINO, Magma Journal and many more. It is the Boulevard's Poetic Prize for Emerging Writers 2013 and the Maine Literary Award 2014 in the " Short Works Poetics " series.
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While you may not want to obey these rules when you' re creating your own story, you should at least be conscious that you will not obey them if you don't obey them. It' going to be because you are a good writer. When you do not believe that arts should have rules, then think of what follows as a range of norms, or a compendium of good manners.
You may be a very good author if what follows doesn't make perfect sense to you, but you're not a short story author in any way I can comprehend. Keep control: sketch your story and track your sketch. When these last two points seem to conflict, you are right, so find the one that works best for you, but keep in mind that the outcome you want is the same: a story that is an ironical mix of unavoidability and unexpected.
Whatever you get there, you must end with a satisfactory, strongly built, smooth story. One of the main patrons of short feature films, Edgar Allan Poe, insists that every single part, even every single short story must make a contribution to a harmonic whole. In the story, insert only those items of the story's nature, storyline and settings that are pertinent to what the story is doing.
Also, make sure you cut out everything you put in the story just to show off. "Selectivity is especially important when you write autobiographic literature or just from your own experiences (which is inevitable). Keep in mind that what was important to you may not be pertinent to the story.
In that case, keep it for another story where it fits better. It is sufficient to have a good policy for the point of views in short novels. Check each advert and discard at least half of it, especially those ending in "ly" and almost all ending in "ly", to change, as one person has just said in a line of question.
You keep it up. Select powerful words: short Anglo-Saxon words are much more powerful than long Latin words. "Be slim, because additional, useless words disturb and debilitate your story. There is a story to get to the heart of the matter. So the first phrase in history should be the best phrase in history.
Finish the story with glory. That last phrase in history should be the best phrase in history. Is there more than one best phrase in a story? Allow your story to be filled with the best phrases. The use of satirical expressions is an important part of composition. Check the last phrase of each section, the last section of each sequence, and the last sequence of each story.
Finish your heels, sequences and storylines with actions, not reflections. You tell a story. This may seem obvious, but keep in mind that a story without story is like a dinner without eating. This story begins at the beginning. The first phrase in the story must be the best phrase in the story.
Do not start with a meteorological forecast unless the meteorological conditions are important for the action. At the beginning of the story, look for one single person for too many pages; you (or your character) can get bogged down in thought and leave something behind. Think of Chekhov's gun. If you apply this to short story, a charged gun must go off in an early sequence in or before the last one.
Vice versa, if a bombs explodes at the end of history, there is a good chance that the bombs are what history is all about, and they have to be placed at the beginning of history. It is an integral part of the property structure. On the storyline side, humor is the surprising and meaningful one.
Let the readers respond with "AHA" - not with "Duh" or "Huh? "Confrontation is an absolutely necessary fictional issue, short or long. This short story is based on the assumption that you have to surmount barriers, you have to surmount your own difference, you have to win against your opponents, good against villians, inner battles, clashes, fist fights, pursuits or simply hard work.
Gentle or big, the conflicts are the focus of characters and actions. Somewhere in the story, this dispute often leads to a clear displacement of powers. That means: histories are about changes. You have to make a decision, and that decision changes your personality.
Consistency makes the big deal when it comes to action. Nabokov's marvelous, straightforward example shows the distinction between an action and a pure succession of series. "An action is not just a succession of events: An action says that there was a reaction to A, then a reaction to C, then C, then C, then a reaction to A, and that because of C, C had to occur, which (surprisingly or unavoidably or both) resulted in both... and so on.
Tales usually let the readers unwind a little after the highpoint. That' one of them, but the story shouldn't just turn around and go to bed. Maintain the story until the end and make the last movement the best in history. I have now said everything I want to say about the short feature film theories.
The rules I have just enumerated, and many others I don't have, have been serving the arts for thousands of years, since the original camp fire tales were exchanged. They' ve stood up to the story, the fashion and even TV (don't let me start) and they will live far into the distant past, regardless of how much it can make the way tales are shared from spirit to spirit difficult.
This is why storytelling is important, because it's about what's important. This does not mean that all tales of affection and deaths have to act (although the most beautiful tales are about one or the other and the most beautiful of all about both). Things that are happening to your character must be important to the readers because they are important to you, because they are things that are important to the state of man.
When you don't believe that, or when you think it's too challenging, let me go further and say that everything we do in our lives is for that end, and the arts (in this case short feature film writing) is just a focused endeavor in the big picture. Enjoy your work.
They should indeed be writing about things that are important in society but avoiding preaching, remembering that it' s all about humans and not thoughts. Talking about meaning, things that don't matter are washboards ( "laundry lists" is a general word that doesn't always refer to clothes), meteorological forecasts and tales about authors. It is good (you better believe it), but it must be important for the story and its storyline and story and its subject and character, and not just for laughs.
There must be a motive for the action itself, in the story, to be in the fiction: it is illustrating a figure, or better still, it is driving the action forward by altering a relation. Just think, your readers are at least as smart as you are. Don't tell your story; if you're worried that your readers won't get it, you'll have to rewrite it.
Don't tell your readers what to think; convince them to think in a certain way by typing. The writings about what you know do not mean that you cannot put your tales in strange countries you have never been to, or in distant worlds, for this issue. This means that the story really is about its emotive contents, about the part that comes from within you, and that's something you can't tell a story about.
Research so that you are not ashamed of making errors, but don't let research turn you into a boring catalogue of facts. Keep in mind that a story about a fight between a blob and a robot playing on Pluto in 2356 is really about man's world. This does not mean that you cannot read about loving and laughing, but you should also recognize that all good tales about relationship are about relationship issues and that the whole humour comes from sorrow and sickness.
Tales are about humans, not symbol. Both you and your readership need to be spending quality leisure with these property, so make them organizing them individually and absorbing. They have a great deal to tell you. Allow your readership to make their own assumptions about these individuals; once you've shown the character in motion, you don't have to think about how the readership will rate them.
The dialogue must listen like a conversation with genuine human beings. You may be shameless and you may say shameless things, but only the most boring talk in clichés, and the most boring are rarely even deserving of this. One other thing that genuine folks don't do is to grab their talks full of action information.
That'?s not a letter. You' re breakin' the rules. You should probably go back on the rules. But if you violate the rules, do it deliberately and loudly, because violating the rules is part of your story.