This week: Plot? Vibes? Chaos? It's Up to You! Edited by: Jayne  
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| Hi, I'm Jayne! I'm a new editor for the Short Stories newsletters! |
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Hey there! I’m one of your new regular editors for the Short Story Newsletter.
Technically, this is already my second issue, and naturally, this means I am already wielding entirely too much power. Please don’t unsubscribe yet.
I’m not a literary overlord (yet), and I don't know everything, so I want to hear from you. I’ve checked the archives and the current issues, and I want to ensure you’re getting the content you want to see without duplicating all the fantastic issues already out there. I had success reaching out to the community when I asked about the Drama newsletter, so I thought I'd try it here.
Obviously, I come bearing some ideas. These ideas may be brilliant, or they may be flatter than a mouse squeezing under a door. Before I unleash them upon you, I’d like you to consider what you’d like to read about.
Would you prefer some less-than-standard topics that let you explore some niche(ish) areas of short story writing, or would you like to stick to the tried-and-true topics (structure, show don’t tell, POV choices, dialogue, etc)? Are there any strange, glorious topics you’ve thought about but were too afraid to ask an editor to cover? Ask away! I’m all ears.
Here are some thoughts I’ve been tossing around:
Structure
The Point of Pointless
Sometimes, a short story isn’t about the resolution — it’s about the vibes.
A guy who talks to rainwater and never explains why. Someone loses their memory every time they cross a bridge. A future where people report their dreams to a central archive no one ever reads. Writing without a “point” can free your creativity and create incredible atmospheric stories.
Burning Down the Three-Act House
Who needs a beginning when the end is a banger? Break traditional structure by starting at the fallout and letting readers piece together what happened. Maybe it’s a breakup story, but you only get scenes from their worst five arguments — shuffled like a deck of regrets. Or a woman wakes up in a field of stopped clocks — we never find out why, just how she reacts. Structure-bending stories build immersion by trusting the emotional core over plot.
Stories Without a Plot
What if a moment isn’t just a scene — it’s the whole story? We all have them: atmospheric pieces, character sketches, or “slice of life” stories often live in the details. It’s not the same as The Point of Pointless because I can find many different pointy things to talk about, thankyouverymuch.
Why Does Everyone Hate Second Person POV?
Do they, though? Or is second-person POV just tricky to write well? If you’re forcing readers to step into a role they didn’t ask for, you need to make sure it works—and when it does, it’s unforgettable.
Characters
One-Scene Only
Can you write without the convenience of time jumps? One-scene stories revolve around action (not necessarily the Fast and Furious kind) that unfolds in real-time. It’s like a one-act play but with more prose and fewer stage directions.
We Can Destroy Them (in 2,000 Words or Less)
You don’t need an entire novel to break a reader’s heart. Short stories can emotionally wreck readers with emotional shortcuts, layered dialogue, and suggestive imagery. Use this power wisely. Or don’t. (I am team chaos all the way.)
That Side Character Might Have a Better Story
The guy who sells overpriced pancakes at the space station? The thrice-widowed neighbour with suspiciously good almond loaf? Sometimes, your side characters steal the show, but not all of them deserve independent tales.
Passive Protagonists Are a Thing, and I’m Not Making That Up
A protagonist who avoids, hesitates, or watches from the sidelines? Yes, that’s a thing — inaction is still a choice. Some stories are more about what a character doesn’t do and the emotional ripples that follow. Passive doesn’t mean boring — if it’s done right.
Genre
Short Story, Big World
Immersing readers in strange worlds doesn’t require sprawling epics — just well-chosen details. A single rule-bending concept might be all you need. A city where memories are currency and regrets are auctioned like stocks? I’d read that.
Shh, I’m Telling a Short Story
Not every story needs a twist, a punchline, or a dramatic realization. Quiet stories build tension and emotional resonance through nuance. The smallest gestures carry the weight of the narrative and have your reader tiptoeing beside them.
Mind The Gap (That’s Where The Story Is)
Some stories are more powerful because of what’s missing. Fragmented narratives challenge readers to fill in the blanks and figure out what’s not being said. Gaps create tension. Readers love to solve puzzles. How to give them pieces, not the whole picture.
Let Me Know
Do any of these topics resonate? Did any of the topics I suggested catch your interest (in a good or bad way)? Is there something else entirely you’re dying to know about short stories?
Reply to this newsletter using the “Ask and Answer” section, and let me know! You can also send me an email. I’m looking forward to your feedback (and possibly dangling a reward for your time). And definitely send me your ideas! No suggestion is too weird — I mean, I already wrote about the guy who talks to rainwater and people trading regrets on a stock exchange. You’re good.
As always, happy writing!
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Short Stories: April 02, 2025 Issue [#13062]
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