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" Find the key emotion; this may be all you need to know to find your short story."
- F. Scott Fitzgerald
" When it comes to the point, really bad men are just as rare as really good ones.."
-George Bernard Shaw
Hello, This is Joy , your guest editor. 
In this issue, antagonists will be our topic.
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Welcome to the Short Stories Newsletter
Hello, Short Story Writers. 
Don't you think it is always the antagonist who makes the short story sizzle? An apt definition for an antagonist could be: someone who antagonizes the protagonist. In other words, an antagonist is a strong presence but not necessarily a villain.
I learned a lot about villains from watching Latino soaps on TV, called telenovelas. Telenovela writers love the bad guys and gals, and they call them malvados and malvadas. The viewers, too, love the soaps with really atrocious antiheroes, and the writers keep making them more and more appalling as the soap progresses. Sometimes, these baddies turn out to be so terrible that they go crazy at the end.
To be correct, these characters are only villains. Villains and villainesses may be very different from the true antagonists, because villains end up as cartoon characters, thanks to their writers who only expose their negative sides.
The classic antagonist used to be a disconcerting character because of something in his past that made him self-destructive and gave him all the negative traits such as envy, greed, pride, narcissism, and jealousy.
In a short story, having the undesirable characteristics does not necessarily build a true antagonist. The strength of the antagonist’s character solely depends upon his values and goals that directly contradict those of the protagonist in the story. This is because the purpose and activity of the antagonist in the story varies according to the purpose and activity of the protagonist.
A successful antagonist can be likable and identifiable by the reader. His traits may be alluring even if they are wicked, frightening, or shameful. He may be original and funny. His motivation may be due to deep personal reasons or arrested development. He may have the same love interest as the main character or his love interest may combat protagonist’s love interest.
Above all, the antagonist’s allies in the story, his goal or mission, his inner conflict, and his state of mind are the opposing forces against those of the protagonist.
While drawing the character of the antagonist, a short story writer must remember that the quality of his story will be directly proportional to the quality of his antagonist. Even if the main character is drawn perfectly, he or she needs to be balanced with an equally powerful antagonist.
Does that mean that the antagonist has to be in human form? Definitely not. An antagonist can be a concept or a common belief. For example, obsession or prejudice can be antagonists, as long as they are given enough dramatic power by the writer.
In addition, through another fiction practice, a concept or belief can be given a human form.
The antagonist--who is sometimes more than one person--appears in the story as much as possible. If not, his presence is alluded to or mentioned in some way. He causes the most conflict for the main character throughout the story. The antagonist not only opposes the main character but also attempts to frustrate, confuse, thwart, or destroy the main character’s external objectives and undertakings.
A winning practice in creating antagonists is to attempt to understand the human nature and see the underlying causes in everyone’s actions. What can you, the short story writer, do to achieve this objective?
First you have to look at each person with compassion and see him as a unique and valuable human being. Then, as an exercise, you might take that person apart and exaggerate his flaws.
In addition, to perceive human behavior as closely as possibly, you may take every opportunity to meet different kinds of people from different walks of life. You must never be afraid to meet anyone. In the most unexpected person, you might see your next protagonist and antagonist. And yes, both can be present in the same person.
Then, you can read personal and advice columns, psychology journals, magazines and newspapers, and you might listen to the radios and watch live TV shows. On top of it all, you can use your own personal experiences with other people, being wary of stereotypes.
In short, never forget this principle: Any temperament, character, or quality will work for an antagonist as long as his opposition to the protagonist is directly proportional to the purpose and the mission of the protagonist.
Have a great time with your antagonists. 
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“Serenity embraces her face now as she nods…” but who is she in reality?
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“The woman standing before her wasn't Kim Davis. It was Kim Greene, her arch nemesis and most hated rival.”
"He’s more like a child trapped in a man’s body"
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“You understand, Jack, that what I am about to tell you is extremely confidential.” Eddie spoke calmly…
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"Virginia’s illness had created staggering bills."
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“Do you think mamá will be happy with this gringo?” Jimena asked me.”
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“Ursula looked every inch the Calamity Jane…”
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“Things would have to change, but he couldn't figure how.”
A few of the current short story contests in Writing.com
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Answering your feedback to the issue on 4/30/08 . The subject was revision of common story mistakes.
Lauriemariepea 
hi, joy--
great newsletter! i've been stumped about rewriting the novel i'm working on, and while the tips you offer are geared toward short stories, i'm thinking they'll come in pretty darned handy for larger projects, too. thanks for giving us some concrete steps to working on our stories.
Thank you, Laurie Marie.
Most tips on writing , though not all, can be used in different types and genres. I am glad you found that issue helpful.
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KimChi
Fantastic newsletter on short story mistakes!
You've explained a lot of the finer points of writing, giving names to concepts we already work with. This is invaluable for those of us who have never taken a formal class in writing. Underwriting? Plot points? While I understood the ideas in context, I've never seen those terms. 
I write, put it away for a few days, and then roll up my sleeves and start slicing and splicing. Now, instead of giving up on a story, I have tools to help me dig my way out of a scene. I'm almost hoping for writer's block just so I can use some of your ideas! 
Thanks for a compelling and useful newsletter!
Thanks Kimchi,
I hope you never get writer's block. I hear it is very frustrating.
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Mavis Moog
Joy, what Joy!
Your newsletter this week was the best I've ever read. Terrific - supported, clearly expressed and authoratative.
Stephen King's point about flash-backs, which are irritating and cumbersome, is good, but surely it applies to novels rather than short stories. A common short story error is to encompas too wide a time frame. If the story spreads over life-times, maybe it's a novel
Thanks, Mavis.
Yes, you are right. Some stories look like synopses, don't they! I confess, I am guilty of the same booboo with some of my stories.
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cookie_writer
Thank you so much for the sound advice. I am working on a short story now and as a beginner it is frustrating. I had lost the plot, and things were not working well. Just the right bite I needed. Love the newsletter.
Thank you, too, Cookie.
Glad it helped.
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Coolhand
Joy. This article was interesting and filled with great instruction. Personally, I think plot development is the most difficult area in the revision process. I'm glad you quoted the plot master; John Irving. I recommend members reread your advice a couple of times. I know I will.
Best regards, Coolhand
Thank you, Coolhand.
Plot development is certainly difficult, but I believe, putting all elements of storytelling together and making them work should be the ultimate goal.
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Zeke 
This article on rewriting and editing was especially appropriate for me. I am midway through my third edit of a mystery novel I'm working on. I espect at least one or two more passes before I let it escape. Your suggestions were very helpful.
Zeke
Thank you, Zeke.
Best wishes with your mystery project.
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Maria Mize 
A very informative newsletter... Thank you, Joy!
Thank you, too, Maria.
Glad you liked it.
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StephBee 
Joy, I liked how you covered the process of editing and revising. I think it's something that hasn't been touched upon as much as other aspects of writing. I agree wholeheartly in that the first draft is not the finished the product. I find as a writer, I have to be very methodical in my editing/revising process to sharpen a story. Feedback is so important here because it acts like the pencil sharpner for the pencil.
Thanks, Steph.
Yes, editing and revising is the reality check of writing, as cumbersome as it seems to most of us.
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bazilbob
Great, detailed newsletter on editing and rewriting. How about doing one on pre-writing? It's an overlooked subject that I'm sure you could handle well.
Thanks, Louise.
That is a great suggestion. I'll look into it, next time I get a chance.
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Short Stories: July 23, 2008 Issue [#2523]
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