 Short Stories: December 14, 2010 Issue [#4128] |
  Short Stories
This week: The Direct Line Edited by: Jay's debut novel is out now!  
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This Short Stories newsletter is dedicated to readers and writers of short fiction, discussing what we write and why we write it. 
This issue, I thought I'd address some interesting questions and comments that came about as a result of this thesis:
It's an "amazing leap of faith or intuition" that we ask out readers to make... We are asking the reader to see our characters as best we can convey them, and all we have to offer on this note are words. |
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Hi everyone! I'm Jay's debut novel is out now! and I'm your Short Stories Editor this week!
Last month's issue, "Short Stories Newsletter (November 16, 2010)" , I addressed some elements of creating a character for a short story. I had some interesting feedback from this particular NL, and some interesting questions certainly came up as a result.
(I will respectfully point out that I was specifically addressing short stories, as this is the overarching topic of this newsletter and so, accordingly, the traits being discussed are specific to the short story.  )
I had a few readers whose feathers may have been ruffled by the assertion that No one wants to read about "wimps," people who can't make decisions or have no motivation.
Now, this statement does not necessarily hold true for a novel, where often there are layers of motivation at cross-purposes and the threads of conflict will often drag along even the most reticent of characters, but you don't have room for that in a short story!
Think of it like this: A novel is a mansion on an expansive estate, full of closets to be opened, maybe even with some skeletons.
Now, a short story, by comparison, might be just one room of that huge mansion. It's a room full of its own embellishments and details, but it's only got one closet, if that.
A short story is a complete work in its own right, but it is by definition short, shorter than a novel, with more direct lines between conflict and resolution. By definition, a short story must be tighter wound than a novel-- there's less thread. You certainly don't have to spell everything out for the reader all at once, but the events in a short story tend to be more linear. The events which happen must occur in a way that our reader believes them, or else the illusion is lost and our reader remembers they're just looking at words on a page and does not connect them to the imagery you wish to create.
Characters need to be believable and compelling, and sometimes that means that their paths might be more direct. In novels, there is room to explain every foible and unique tic of many characters' personalities. In a novel it might be believable or compelling to show a character overcoming significant odds or adversity. This is possible in short fiction as well, but remember that it is on a different scale. That's not to say that it can't work, just that it's a lot more difficult. Characters should never be plain, but in a short story they might be more exagerrated or extreme in order to show effect. Think of the most lively and believable fiction character you can... Odds are, this character's behavior would seem crazy or strange in the context of reality, but within a short story, it takes all of that energy and vitality for that character to spring forward and become lifelike.
One of my least favorite things to read in a short story is a lot of explanation about why things are happening. If your characters are straightforward enough, they won't need an excuse for their behavior or, rather, for the results of their behavior. It cuts into so much of what the story could be... Using characters who make sense for the story will make it much smoother.
For example, in a short story where you are pressed for words, constantly referring to back-story or past events drags the action backwards and occupies valuable word count. As a reader I would much prefer to see what is going to happen next, even if you have to frame the action in such a way that it engages the reader in present action.
Just some food for thought.
That's all for this month! Thanks for reading.
This month's question:
What aspect of writing a short story is hardest for you, and why is that?
Until Next Month,
~j
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YoungThoughts  writes:
I really liked this Newsletter on Character Development. You have actually given me some great advice on one of my pieces I had posted and also on one I am working on right now. It's a short story but kind of getting longer now thatn expected, and I know you say in this newsletter not to use real characters in fiction, but what if your inspiration comes from something that occurred to you personally and you want to change the story but use some of the occurrences from that experience. And how long should good short stories with enough plot and character development be?
Well, with characters, remember that they need to be larger than life-- if you take a character from reality, make sure you take their personality traits to a point you wouldn't believe possible in reality. I don't usually refer to my own work in my newsletters, but my story, "A Normal Guy" [ASR] is a specific example of this. Neil is actually a caricature of a good friend of mine taken to a real extreme.
Voxxylady writes:
Hi ~j,
No one wants to read about "wimps," people who can't make decisions or have no motivation. Readers can detect that lack of motivation and are repelled by it. Plot continually moves forward and idle characters will drag the story backward.
I have to argue with Mr. Bickham on this one. My most popular book so far (I have 5) is the one that features a young woman trying to find a path. She's unsure what she wants to do or where she wants to be. I had comments praising the deep characterization and that they couldn't put it down. So it can be done. There are plenty of us trying to find paths. If people can relate to your story, they'll keep reading. Not all leads need to be bold.
In a novel? You're absolutely right. But I'd argue too that a character who is learning who she is and wants to do is not passive at all! I mean to say, in discussing "wimps," that I am discussing characters that don't ever make changes or decisions...
atwhatcost writes:
"What other characteristics of good characters can you think of?" This might come under "flaws," but I need depth. It seems like all disable people are sweet and mellow, old folks are wise, children are precocious, city dwellers are sophisitcated, while farmers are bumpkins, even vampires are haughty. I've met one or two wise old woman in my life. I've never met a vampire, but they used to be real people. I don't mind a character that seems to fit a stereotype, but give me a break - there has to be more behind the person. And, I say this as an old, disabled city dweller, who knows I'm not always sweet, mellow, rarely wise, and closer to a country bumpkin than I'm sophisticated. ;)
A lot of these apply more with novel characters, but this kind of duality works well when it can be expressed clearly, but without too much explaining.
Mara ♣ McBain  writes:
Interesting NL! I really liked your comment on character flaws. As someone who has wrote a few times about orphans or people with a rough childhood, your comments really struck home. Great tips. Great reading! Thanks for your shout out to my short story The Library Lady.
Absolutely! It was a great read 
ChrisDaltro-Chasing Moonbeams writes:
Dear Editor ~j,
Hi! I would like to express my satisfaction and surprise when I saw that my short story The Medium was one of the Editor's Pick in your Newsletter of November 17, 2010! I cannot find words... I can only say that I am completely and totally tickled pink. Thank you!
Christina Daltro
Of course! Write on, Christina!
Tick writes:
Characters who form a visual in the mind of the reader.
Characters who handle unfair criticism well.
Characters who exhibit kindness to others.
Characters who learn new things willingly.
Those who, when all around them are loosing their minds, can step forward and save the day, almost.
Those who appreciate valor and if they can't be first, don't mind being next.
Characters with a healthy sense of fair play.
You're really making me think now. I have to go edit a couple of people I made!
Love your newsletters, keep teaching us.
Absolutely, Tick! I think your suggestions are most interesting...
That's all for this month! I look forward to your questions and comments, and I'd love your responses to this month's question:
What aspect of writing a short story is hardest for you, and why is that?
I will reply to the best of these comments in my next editorial!
Take care and Write on!
~j
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