After reading through many contest entries, I began seeing the
same mistakes being made again and again by the writers of short stories wondering why they
never win. Or, maybe they come close but can’t quite get there. There are plenty of craft books that will teach you all the elements of good writing, short story writing and mystery story crafting but most people just jump right in and think they can whip out a short story. Much like running a race without warming up first. This is my perspective without a lot of fluff.
Sometimes the path of learning is making the mistake—then seeing what you did wrong so you don’t keep doing it. The
important part of that is the “seeing” part, understanding the what you did wrong part—acknowledging it. It would be nice to be told what to do and just do it,
but unfortunately as human beings we can be a stubborn species. In Part I we
began this process of what not to do.
Today we have a little of what to do, concentrating on mystery and suspense.
Part II
Tell
the story – story first, writing second
Some people are plotters (they lay out the story ahead of time) and some pantsers (they write by the seat of their
pants—whenever and however it comes). Whichever you are, you still will need to
lay the story out in a planned format eventually
(or you don’t have a story).
Pantsers
lean heavily on being inspired and that can be a good thing if you hold what
inspires you in front like a carrot to get your story down. It can be the element that shines through and makes it a winner. But
eventually you need to pull it together.
Think of it as the bones of the story.
Be clear on these points and you will be less likely to get distracted or
side-tracked—wandering down that yellow brick road getting distracted by the
non-essentials. Build flesh on the story bones (without a lot of unnecessary fat).
And who doesn’t love that?
When
writing a mystery (or suspense). You
will need to decide:
1. What
is the crime (or suspenseful incident)?
2. Against
whom (victim)?
3. Why
was this done (motive)?
4. How
(by what means)?
5. By
whom? (antagonist)
6. Who
reveals the crime, or triumphs in sorting out the suspense (protagonist).
Important to keep in mind:
- The hook: up the ratings on your story with a good hook. The hook is the first few sentences or paragraphs that draw the reader right into the fictive dream, without breaking his attention (with an info dump), so the reader wants to know what happens next. It is the appetizer or aperitif that whets the appetite and draws the reader right into STORY (See Part I, A).
It doesn’t have to be some car chase or explosion—any over-the-top
action, but it must capture the imagination. Take some time reading first pages
of successful short stories, and source out what makes them work so
effectively. That will be time well spent.
To be fair, what works for some will not
work for all because of subjective reasons—we are not all interested in the
same stuff. But, if you can find that commonality we are all interested in, you will rock it.
- Who discovers the crime? Under what circumstances? (your protagonist? A side-kick? A stranger who ends up important in the story?)
By the way—all characters in a short story should only be
there only if there is a need for them to be there. They tend to clutter the
landscape if they are not essential to the story.) You can’t have ten people on
page one of a short story. We don’t have time to get to know them as we do in a
novel, so eliminate them, or don’t give them names and let them be part of the
scenery.
- What clues point to the doer of the deed (or reason for the problem in suspense)? (you must sprinkle carefully throughout and not slam us with an ending we could not foresee coming) Readers of mystery want to figure out the puzzle part and you will fail if you don't provide the clues. The suspense reader wants to remain on the edge and needs clues to keep the suspense alive.
- Who uncovers/reveals the connections? Why that person? (part of the puzzle or the suspense?)
- The tie-up. A nice bow at the end to tie up your story can be very effective—corresponding to the hook at the beginning if well done. It can be a twist or the unexpected for greater impact.
The fastest way to learn these tips is to study good short
stories. Take the bones apart and see them in isolated pieces (the hook, the
ending, track the mystery, the clues, the characters). If you take the time to
do this you will quickly learn to effectively write these elements into your story.
A short story is not a novel in short form. Get familiar with the form to be
effective.Learn what you are doing wrong or not doing effectively. Man up and admit you can't get away with lazy writing.
Have I missed some important piece? Do you study short stories to see why they work or don't work?
