%%USERNAME%%    %%ACCWORDS%% %%ONOFF%% |
 Short Stories: February 14, 2018 Issue [#8757] |
| Short Stories Archives | More From This Day | Print This Issue |
  Short Stories This week: Working Out Edited by: Kate - Writing & Reading   More Newsletters By This Editor   1. About this Newsletter 2. A Word from our Sponsor 3. Letter from the Editor 4. Editor's Picks 5. A Word from Writing.Com 6. Ask & Answer 7. Removal instructions 
 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! https://www.Writing.Com/go/nl_form Don't forget to support our sponsor! 
 To stop receiving this newsletter, click here for your newsletter subscription list. Simply uncheck the box next to any newsletter(s) you wish to cancel and then click to "Submit Changes". You can edit your subscriptions at any time. | ||||||||||||||||||||||||||||||||||||||||||||||
| Short Stories Archives | More From This Day | Print This Issue |
View Portfolio
Visit Notebook
Send Gift Points
Awards
Badges
Send Email
Community Newsfeed
General Discussion
Sponsored Items
Book of Trinkets
Static Items
Books
Groups
Interactive Stories
Audio
Campfire Creatives
Community Notes
Crossword Puzzles
Documents
Folders
Images
In & Outs
Madlibs
Photo Albums
Polls
Product Reviews
Quizzes
Survey Forms
Web Pages
Word Searches
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. 
).
Happy Valentine's Day 
