  Short Stories
This week: Battle of the Bulge Edited by: Kate - Writing & Reading  
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There is no greater agony than bearing an untold story inside you.
- Maya Angelou
Greetings, I'm honored to be your host for this week's edition of the WDC Short Story Newsletter and I'd like to explore today ways in which we can trim the 'bulge,' and weave a toned, tight story .
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Okay, what do you do with a sagging middle?
I know, I know, 'crunches' are the only real means of reducing the sag (call it jelly roll, muffin top, or beer belly ) if one has overindulged, and then keep the spoon out of reach of the ice cream.
Write the story, then go back and revise. Whether outlining the story from beginning to end or writing stream-of-though, the middle can most often use some work to keep it focused so your reader wants to know the story, not just the ending. After grabbing your reader with a vivid, intriguing hook or opening scene, the middle of the story is where you make your reader want to participate in the story.
 Challenge your character (and reader) by keeping the story active. Whether writing first, third, or omniscient voice, lengthy scenic descriptions or internal dialogue slow the pace and take the reader out of the action. Give your character choices that result in reaction with which your reader may or may not agree, at first, but will want to see the result. Note the visual reference. The story is dynamic, itself a character with which your protagonist (or antagonist) interacts in order to arrive at the satisfying (if not always 'happy') conclusion.
Build tension with conflict, internal and/or external, for your character (and reader). The character's reaction to the conflict, the obstacle, makes him or her real for your reader, somebody about which your reader wants to know more, wants to see succeed on his/her journey. The conflict also effects change in the character as well as his/her environment, making the story dynamic and important to the reader.
Plant relevant clues both false and true that show the character's 'stuff.' The middle of the story is where your reader gets to know the character and care that he/she succeeds (or fails). Relevant is the operative word here. If your character gets lost in musing over a picturesque sunset, so will your reader. However, if a fiery red sunset is the gas from an exploded tanker of noxious gas the character must somehow contain or escape, then it's relevant. This, I suppose, is the scary word 'plot.' Each scene needs to move the story forward towards the conclusion, whether by misdirection or direction. The character's interaction with and reaction to events changes him/her and keeps your reader involved in the story.
Now, back to those dreaded 'crunches,'  which are worth the end result. Trim the excess verbiage and non-relevant action. If you find yourself really going off in another direction, perhaps it's another story taking shape; another adventure for your muse creative and readers to savor - another day. Keep the end result in focus and your character (and story) will be the stronger for it.
I hope you've enjoyed this exploration and found something to challenge or incite your muse creative to action.
Write On
Kate
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Okay, let's encourage several members of our Community, check them out and let them know what you think of their 'middles' (along with their beginnings and endings) and how about sharing your own 'workouts' for a chance at cool prizes and some shapely reads .
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Have an opinion on what you've read here today? Then send the Editor feedback! Find an item that you think would be perfect for showcasing here? Submit it for consideration in the newsletter!
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I thank you for welcoming me into your virtual home. As a guest, I don't have a formal 'ask and answer' but if you have a story you'd like to share, drop a link with a comment.
I hope you enjoyed some of the 'exercise routines' we've explored and wish you joy in working on that sagging middle (not that you have one, of course).
Write On
Kate
Kate - Writing & Reading
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Short Stories: February 22, 2012 Issue [#4892]
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