Postcard Storytime

Postcard Storytime

Ruth E. Walker

Earlier this month, Gwynn explored the idea of story length and short story forms in a blog about story size, Does Size Matter? In it, she lists several forms of short fiction.

I have a soft spot for the power of a postcard story. I’ve taught a couple of workshops that take a close look at that form, a kind of snapshot story of few words.

Like all super-short forms, it is extremely hard to write a compelling tale that engages readers and challenges them to consider another world, another life lived. But it is a brilliant exercise for any writer to attempt. Why? Because it helps you learn the value of a few words that can say so much. And that, my friends, is a vital editing skill for any writer.

What is a postcard story:

Originally, a postcard story was supposed to be short enough to fit on a postcard. A beginning, middle and end boiled down to only the absolutely necessary words to set a scene and deliver an emotional impact.

For a long time, it seemed that 250 words was the magic number as a word-count maximum. But it is in the eye of the beholder and some contests have set higher and lower word counts.

For our purposes, let’s just focus on 250 words maximum. How can anyone write something that short that is also powerful to read?

Start 30 seconds before the end

Unlike a longer work, your opening in a postcard story is almost your ending. There’s no room to set up characters or setting. Backstory is implied without explanation and with the barest of detail.

We’re told to start a story in the middle of things happening – in medias res. But for successful postcard stories, that needs to become in quae tandem – at the end of things. So think in terms of moments, like the smoke rising from the barrel of a shotgun, the click of a closing motel door, a cold breeze through a broken window.

Great postcard stories capture the moment just after something significant has happened and because of it, everything changes.

Be suggestive

You are not setting up complex themes; rather this is a single scene with one main idea at work. But if you want a postcard story to work as well as a longer work, you need that scene to contain richness and depth—even if it is only ‘implied’.

  • characters must appear to have a life
    • Use Action:
      • brushed dirt from his pants
      • slips off her ballet shoes
      • takes a sip from the broken cup
  • setting may be a mere blink but with that blink we ‘see’ specifics
    • Describe with energy
      • hairline cracks in the paint
      • fireball sun sets behind the mountains
      • whisper of dust on the bookshelf
  • your plot must be larger than its 250 words
    • Go Big thematically (but keep it small)
      • death/birth
      • conflict/peace-making
      • letting go/taking charge

End with a bang

The last line is the killer in all short fiction and never more so than in a postcard story. It makes the final “sense” of the snippet, the ah-ha. It suggests what is to come without stating it. The very best last lines in a postcard story will make you suck in your breath and then hold it for a moment before releasing it.

I can’t help you to know how to write this last line. But I can tell you that you’ll recognize when you have it right because you will suck in your breath and then hold it for a moment. And then, release it.

Job done, you’ll say.

Curious about postcard stories?

Visit award-winning Irish writer Jan Carson’s site to view some of her postcard stories, published by Emma Press. Cheeky. Clever. Disturbing.

Job done and done well.

Curious about short fiction in general?

More on writing short fiction in Gwynn’s post Thoughts on Short Fiction. And you can read our winning entry in last year’s under-500 words story contest: Woman with Cigarette by Helen Bajorek-MacDonald

Writing Speeches for Profit

Writing Speeches for Profit

Guest Post by freelance writer Dorothea Helms

Helping people put into words what they want to say in public can be a fun and lucrative source of revenue for freelance writers. Ghostwriting speeches and/or remarks for businesspeople is like writing dialogue in fiction: you have to put yourself into the “voices” of your characters rather than write how you’d say things. Here are a few tips on how to approach speech writing for clients.

Before you write

  • Know the main purpose of the speech. Is it to entertain? Inform? Educate? Inspire to action? This should affect everything you write for the job.
  • Keep in mind the rhetoric (speaker-audience-message) triangle. The words you weave must be appropriate for all three.
  • Know your speaker. Have a conversation with the person to discover their speaking style. Does your client speak with flowery words or in straightforward business talk? If you cannot meet in person, at least video call or chat over the phone.
  • Know your client’s event participation and timing. Will they be giving a formal speech or adding some remarks to an agenda? Will your client be the emcee? How long should the presentation be? Most people speak at approximately 140 words per minute. If your client speaks slowly or quickly, adjust your word count accordingly. If your client is the emcee, you’ll need to add some occasional (DIRECTIONS) in caps and bracketed to indicate when introductions and other parts of the event occur.
  • Know your client’s audience. Who will your client be addressing? The presentation must be appropriate for the audience.

THE SPEECH ITSELF:

There’s an old saying that is still valid in today’s professional presentation world: Tell ‘em what you’re going to tell ‘em; then tell ‘em; then tell ‘em what you told ‘em. This is a good rule of thumb for a formal speech. Regardless of any speech’s length or purpose, follow these tips for effectiveness.

  • Research – be sure that any statistics or other information your client uses are accurate.
  • Use powerful verbs – a good power verb will always be more effective than an adverb and a weak verb (think “crept” rather than “walked slowly”).
  • Add humour only if appropriate – again, think of the audience. People can be easily offended. Audiences are diverse, and it’s wise to use a light hand with jokes or funny anecdotes.  
  • Add personal or other appropriate anecdotes – this can give a personal slant that connects the speaker to the audience. “I wonder if this has ever happened to you…”
  • Simplify language and read your draft aloud – remember, writing for speaking is different from writing for reading. If you stumble over a sentence when reading out loud, rewrite that sentence.
  • Stay in the active voice throughout – this will have much more impact on the audience.
  • Avoid blanket sweeping statements – a statement that can’t possibly be true will turn off an audience. An example: “Everyone knows that …”
  • Be positive – whenever appropriate, say what it is, not what it’s not – use the power of a positive voice. The subconscious processes only the positive, so when you say something like “real estate sales cannot get any worse,” you plant the seed that they can.
  • Make the tone conversational – The audience should feel as though the speaker is communicating with them.
  • Be ready to edit – Your client may love the speech as is; however, remain open to making changes if you are asked to. Often, a client looks at remarks differently once they are written down. That person might realize something should be added or removed. One of the speeches I wrote went through six drafts before being approved. The client was happy with the results and the fact that I didn’t take suggested changes personally. This point is appropriate for all business writing. 

How to get speech writing assignments

  • Your website
  • Business cards
  • Add speech writing to your Facebook, LinkedIn and other profiles.
  • Advertise to local organizations, wedding planners, new businesses, etc.
  • Corporate newsletters
  • Trade journals
  • Networking
  • Existing clients (this is a major source of speech writing jobs for me)
  • Word-of-mouth

I have written speeches and remarks for all kinds of events from Bar Mitzvahs to condominium openings. You can too. My motto is: If you write well, you can write anything well.

From a college creative writing course to a freelance writer earning six-digit figures yearly, Dorothea Helms has come a long way, baby. Now semi-retired, she is still in demand for her writing/editing services, including ghostwriting speeches for business professionals. Her work has appeared in dozens of publications including Chatelaine, CBC.ca/Parenting, The Globe and Mail, Canadian Architecture & Design, LICHEN Arts & Letters Preview, Stitches the Journal of Medical Humour, and Homemakers, to name a few. Yes, four of those publications are no longer in existence, but Dorothea accepts no responsibility for their demise. Wherever Dorothea goes, humour follows.

10 Words from Writers

10 Words from Writers

It’s a new year and, while last year’s issues linger on, we writers are ready to take on whatever else 2021 will hand us. After all, it’s life’s experiences that fuel us, inspire us and challenge us to pull out the best possible words in the best possible order and place them on the page.

At least, that is the theory. To underscore that concept and to keep you in a positive creative space, we’re sharing 10 quotes about the craft from 10 different writers. Energizing? A calorie-free fill-up, we hope. Inspiring? Probably. Challenging? We surely think so.

You be the judge.

What is a writer?

Aristotle: We are what we repeatedly do.

Susan Sontag: A writer is someone who pays attention to the world.

John Updike: Writers may be disreputable, incorrigible, early to decay or late to bloom but they dare to go it alone.

How does a writer work?

Anne Lamott: Very few writers know what they are doing until they’ve done it.

Anais Nin: The role of the writer is not to say what we all can say but what we are unable to say.

J. K. Rowling: Anything’s possible if you’ve got enough nerve.

Robert Frost: Poetry is when an emotion has found its thought and the thought has found words.

Why be a writer?

Jorge Luis Borges: When writers die they become books, which is, after all, not too bad an incarnation.

Franz Kafka: A book must be the axe for the frozen sea within us.

Last word on writing

Stephen King: An opening line should invite the reader to begin the story. It should say: Listen. Come in here. You want to know about this.

We expect that at least one of these intriguing quotes from writers might nestle next to your muse and help keep your pen filled with unstoppable ink. As the year unfolds, keep in touch. Let us celebrate your wins and soothe any scrapes or bruises that might come your way.

The Gifts of 2020

The Gifts of 2020

Gwynn Scheltema

As Ruth said in last week’s blog, I’m a master planner. I’ve always set goals, had a plan, been S.M.A.R.T. But I gave up writing New Year Resolution lists years back because, for me, they always seemed to be lists of my future failures, lists of not meeting my own expectations.

Instead, I switched to thinking positively about myself, mentally listing all the small and large achievements over the past year. I also began allowing myself to dream and visualize and imagine what I wanted to do—and not do. I learned to strive for balance in my writing life and life in general.

If there’s one thing that I have learned over this last year, it’s the importance of kindness and acceptance and the finding of joy and fulfilment in the unexpected, big and small. And part of that is the acceptance of self, flaws and all. 

So, in 2021 I’ve decided I am going to put kindness to myself first in any plans I make or goals I set and strive for participation and passion, not perfection.

Unexpected writing gifts

Someone once said that if you think your glass is always half empty, then pour it into a smaller glass and quit whining. I tried to take that approach in 2020 whenever new annoyances and problems arose, and realized that out of a seemingly all-bad year, a number of things did go well for me in my writing life.

I live out in the country, a good hour from all the people and events and activities I like to engage with. By May, a general acceptance of ZOOM and work-from-home meant I didn’t have to spend so much time travelling. That gave me more time for myself and my writing—a true gift.

And technologically, ZOOM was just the start. I gained a whole gift bag of new skills:  I learned how to make videos, how to work with MP4s sent to me from people’s phones and convert and edit them for podcasting. Ruth and I took a stab at giving online workshops, learning all about break-out rooms and gallery views and split screens and converting in-class learning materials to the screen. An arts group I volunteer with went virtual with Google Groups and Google Meet and is planning virtual arts activities I would never have imagined were even possible.  

I took part in virtual critique group meetings, online workshops and paint nights. I had time to read more. I enjoyed countless free offerings of art of all disciplines from around the world. So much to fill my creative well and give me new ideas. Another wonderful gift.

Being stuck at home allowed me to work on habits—breaking old bad habits and cultivating new good ones to replace them. On the writing front alone, I have been able to get back into journalling morning pages, into genuine regular creative time. I’ve had time to sort through years of journals and boxes of scraps of paper to find half-written poems and story ideas and put them into digital files where I can find them again. I’ve been able to spend quality time on putting together my poetry collection, so that in 2021 it may actually finally be done! The gift of moving forward even when everything seems static.

Of course, my 2020 gift list is much longer, full of good things that happened or that I came to appreciate, but you get the drift.

Moving forward

So now as I head into 2021, a big part of my plans and dreams and visions for the future is going to be influenced by what I learned in 2020:

  • Be kind to yourself and don’t expect perfection
  • Do more of what feeds your soul, your passions and your creativity
  • Do less of what others say you should be doing
  • Be flexible and willing to change direction and do it positively
  • Be present, mindful, grateful, and notice and appreciate
  • Go with the flow

Achieving writing goals is all very well, but if they are achieved at the expense of your health or your family relationships and other important aspects of life, then perhaps you need to reconsider. Take time to live.  Take time to grow. Take time to love.

Above all, be kind to yourself and others. Look for the good in everything. Enjoy the writing journey you’ve chosen for yourself. Enjoy life. Be positive and you’ll get there. Have a wonderful 2021.

The Write Goals are Best

The Write Goals are Best

Ruth E. Walker

My colleague, friend and partner in Writescape, Gwynn, is a masterful planner. So, it’s no surprise that at all our business meetings, setting out a plan on paper is our foundation. Once the plan is on paper, the tasks are divided up along the lines of who can best accomplish each one. Add in the deadlines for each task and voila! A workable plan with accountability.

Try this!

Gwynn brings that focused approach into our writing retreats. No first gathering of participants misses the opportunity to work on a plan for their writing escape. Everyone considers the big picture of “ideal” accomplishments during the retreat and then – and this is the most important part – breaks it down into manageable pieces. And then they choose the top pieces to complete. Anything more accomplished is a bonus…once the main steps are achieved.

Looming ahead of you is a new year. No doubt you have writing goals you want to accomplish. Maybe it’s just one big goal, like mine: finish the first full draft of the second book in my science fiction/fantasy duology. Or maybe you have several smaller or more general goals for 2021: take some workshops, sign up for at least one writing conference and finish a short story.

No matter your goals, it’s helpful to put them down on paper and then check them off as you accomplish each one. Here’s some ways to do that.

Make a list

Review what you hope to accomplish and then break each goal into steps. For example, your goal is to get one of your finished stories published:

  • First, create a list of magazines you want to get stories published in.
  • Second, create a list of stories that are ready to submit.
  • Third, read each magazine’s guidelines (word count, deadlines, themes, submission methods) and match with any of the stories on your list with that magazine.
  • Fourth, pick the best story for that magazine.
  • Fifth, submit the story
  • Sixth, create a table or spreadsheet or even a handwritten list of what you sent, where and when you sent it, how you sent it and make sure you leave room for the response.
  • Final step? If the story is accepted, celebrate! If the story is rejected, take another look at it and see if you can improve it at all. If you’re satisfied it’s the best it can be, choose another magazine.

Make a visual

If you need more than words on paper, develop something to tickle your creative self. Again, I take a page from the Book of Gwynn. She comes up with the most creative techniques to excite the imagination while being practical and focused.

A favourite of mine is the daisy:

The heart of the daisy holds the broad or large goal: Develop Fiona’s character more.

And then each petal contains a different way to develop or deepen a character: Up Fiona’s stakes. Who is her best friend? What are Fiona’s fears? What does she want? What does she need? List her positive attributes. What is a small obstacle? What is her biggest obstacle? Create a chart of how others react to her.

Once all the petals are filled in, participants choose 3 to 6 petals that can be accomplished over the course of the writing retreat and then commit to focusing on them first.

Set yourself a time frame: 6 days or 6 weeks and you can use the daisy to break down a big writing goal into 3 first steps toward that goal.

Make a promise

Pull out a sheet of paper and write down in a sentence or two that describes one simple task or small accomplishment that will help you take a step toward a big goal. Stick it in an envelope, add postage and mail it to yourself. Remember to write on the back of the envelope: Step #1. When it arrives in your mailbox don’t open it until you have accomplished Step #1.

Move on to Step #2. Then Step #3. And so on.

Variations: If you knew Steps #1 through #5 right from the start, go ahead and prep them into individual envelopes.

You can even mail them all at the same time if you want. But you only get to open them as each one is accomplished. That combines accountability with keeping you focused.

2021 is not 2020

Yes. This almost-over year has been one for the record books. And far too many of those records have been too terrible to bear. A strangeness settled over everything. A few of my writer friends refer to it as “a fog” and for many, it made the simplest tasks a massive challenge.

And our plans…oh those lovely plans we had for our lives, for our livelihoods and for our writing — they were thrown out the window months ago. If we only had started on those plans in January, by mid-March we might have accomplished…

We can’t predict what 2021 will bring us. But we can be better prepared to dive in to our plans right away. By the end of the year – even if global disruption strikes again – we can look back and know that some of what we planned for came through.

Here’s to a New Year when your muse fills your pen with unstoppable ink and your plan keeps you on track.

All the best from,

Gwynn & Ruth

Season’s Greetings

Season’s Greetings

Thank you to all our subscribers and clients for your continued support of Writescape. 2020 has been a tough year for so many, so we hope our wee bit of holiday lyric editing puts a smile on your face and ink in your pen.

With a tip of the toque to Winter Wonderland*

The muse is calling, are you listening?  
Poems and stories; ideas glistening
So pumped we can write
We're happy tonight
Writing in our winter wonderland                                  
Go away 2020 
Here to stay words aplenty
Good wishes to all
As the words form and fall
Writing in a your winter wonderland
May the muse be always with you,
Gwynn and Ruth

*Winter Wonderland: composed in 1934, lyrics by Richard Bernhard Smith & music by Felix Bernard. The song is so popular, it has been recorded more than 200 times. Now, how’s that for inspiring?

Does Size Matter

Does Size Matter

Gwynn Scheltema

A couple of weeks ago, I shared my thoughts on writing short fiction and in the comments, someone asked, “How short is short fiction?”

That’s a loaded question because, like poetic forms, short fiction comes in a host of forms and lengths and changes with the times.

This sample list of interesting short fiction forms and their word counts comes from a seminar I gave a few years ago at the Ontario Writers’ Conference:

Six word stories

Should provide a moment of conflict, action, and resolution that gives the sense of a complete story transpiring in a moment’s reading.

@twitterfiction

Fiction in 140 characters or less.

Expresso Stories – 25 words or less

A literary form for today’s frothed-up, on-the-hoof, want-it-all-now consumer lifestyle: complete stories that take no longer to read than an espresso takes to slurp.

Hint Fiction – 25 words or less

A hinting story, should do in twenty-five words what it could do in twenty-five hundred, that is, it “should be complete by standing by itself as its own little world.”

Trifextra – exactly 33 words

Stories written from prompts, and having something to with the number three.

Trifecta – no fewer than 33 and no more than 333 words.

A competition in which writers are given a one-word prompt, use the third given definition in the Merriam-Webster dictionary to write a story between 33 and 333 words.

Minisaga, mini saga or mini-saga – exactly 50 words [AKA ultra-shorts or microstory.]

Started by The Daily Telegraph and used in business as an educational tool to stimulate creativity. They are often funny or surprising and are described as “bite-sized lessons for life and business.”

Dribble Fiction – exactly 50 words

An offshoot of Drabble with the word count reduced to 50 words.

55 Fiction – 55 words

From the New Times short story contest. 55 Fiction has: a setting; one or more characters; conflict and resolution.

Postcard Fiction – usually 50 words or less but up to 250

Literary exploration, usually inspired by photographs and able to fit on a standard size postcard.

Micro fiction – under 100 words

A complete fictional story in a limited number of words in any genre.

Drabble Fiction – exactly 100 words

Originated in UK science fiction fandom in the 1980s. Drabble calls for brevity, testing the author’s ability to express interesting and meaningful ideas in a confined space.

Feghoot or Shaggy dog story – usually 100 to 250 words

Usually sci-fi, centers around or concludes with a pun, has a title character in a dangerous situation, any place in the galaxy, any past or future time. Can involve the travelling device with no name, represented as the “)(“.

Haibun – usually 100 to 1000 words.

English haibun is of one or more paragraphs of prose coupled with one or more haiku. It may record a scene, or a special moment, in a highly descriptive and objective manner or may occupy a wholly fictional or dream-like space. Accompanying haiku has a direct or subtle relationship with the prose.

Short Story 1000 to 15000 words.

Word count varies with publication form: collections, anthologies, magazines, or journals; print or on-line; genre or not. Print costs for journals, magazines and anthologies usually keep the count between 2000 – 4000.Genre stories for anthology collections can go to 7500 words. Single author collections often have one longer story up to 15000 words coupled with shorter stories.

Novellette – 7500 to 17500

Novella – 17500 to 40,000, sometimes 50000

Bottom Line:

  • Write your story the length it needs to be without thinking about word limits. Decide afterwards if you want to edit it to fit a certain count.
  • If you hope to sell your story, figure out what magazines or anthologies would be the best fit for the content/genre/style of your story, then look up their submission guidelines.
  • For contests, don’t ever exceed the stated limit.
10 Quotes for Our Time from Children’s Books

10 Quotes for Our Time from Children’s Books

Our strange times present us with new situations to face almost daily and how to think about and celebrate the holiday season this month is just one of them. In olden times, before the printing press, the court jester held up a mirror to the events of the day and gave people different perspectives to consider. Literature does that too—including children’s literature.

Below are just ten of many wonderful quotes from children’s books that are beautifully relevant to our times.

Isn’t it nice to think that tomorrow is a new day with no mistakes in it yet? Anne of Green Gables by L. M. Montgomery

Don’t be afraid of death; be afraid of an unlived life. You don’t have to live forever; you just have to live. Tuck Everlasting by Natalie Babbitt

There is nothing sweeter in this sad world than the sound of someone you love calling your name. The Tale of Despereaux by Kate DiCamillo

Happiness can be found even in the darkest of times, when one only remembers to turn on the light. –Harry Potter and the Prisoner of Azkaban by J.K. Rowling

I don’t understand it any more than you do, but one thing I’ve learned is that you don’t have to understand things for them to be. –A Wrinkle in Time by Madeleine L’Engle

If ever there is tomorrow when we’re not together… there is something you must always remember. You are braver than you believe, stronger than you seem, and smarter than you think. But the most important thing is, even if we’re apart… I’ll always be with you. —The House at Pooh Corner by A.A. Milne

We’ve all got both light and dark inside us. What matters is the part we choose to act on. That’s who we really are. —Harry Potter and the Order of the Phoenix by J.K. Rowling

Words can be worrisome, people complex, motives and manners unclear. Grant her the wisdom to choose her path right, free from unkindness and fear. Blueberry Girl by Neil Gaiman

It’s no use going back to yesterday because I was a different person then. –Alice’s Adventures in Wonderland by Lewis Carroll

We must all face the choice between what is right and what is easy. –Harry Potter and the Goblet of Fire by J.K. Rowling

And even though 10 on the 10th shares just 10 in a list, here is a final quote that hopefully will lift the spirits and warm the heart of every writer:

So Matilda’s strong young mind continued to grow, nurtured by the voices of all those authors who had sent their books out into the world like ships on the sea. These books gave Matilda a hopeful and comforting message: You are not alone. ―Matilda by Roald Dahl

Writing The End

Writing The End

Ruth E. Walker

These days, we’re seeing a lot of endings. Some endings are permanent as favourite retailers and restaurants close and jobs disappear. Some endings are temporary; personally, I can hardly wait for hugs and kisses with my family to come back. And many of us have experienced terrible endings in our lives: separations, divorces or heartbreaking deaths.

With such massive change in the world and so much coming to a close, how is a writer to stay focused on getting words onto the page? Is the opening scene of a story sitting untouched in your laptop? Have you got three great chapters finished but is your mind a complete blank about the rest of the story? Are you in a state of despair?

Here’s something to try:

Create Your Story’s End

Wait a minute, you might say. How can I write the end of the story if I don’t know what happens in the middle? In fact, I don’t think I even care what happens in the middle. I can’t wrap my brain around all that second act stuff, the character arc, the rising tension and bigger and bigger challenges. It’s too much.

Right. That’s the point. Give yourself a Writing the Middle Break, send your imagination off on a kind of vacation or, better yet, a writing retreat with just one goal in mind: The End.

When you write the end of your story, you have a signpost just waiting for you and your pen. Crafting an ending will give you a place to aim the middle of your story toward.

And yes, I hear you: What if I choose the wrong ending? How can I know how it ends if I don’t know all the middle stuff?

Please, just listen to yourself. The ending is always found in the beginning. You’ve already written the beginning and if the sacred heart of your story is missing then your problem is not the middle, it’s the start. Your main character needs something – not wants but needs something that is part of their growth.

Essential End Ingredients

Main Character: a solid ending features your MC as a changed person. Maybe they accomplish something they didn’t believe/know they could. Or they learn something startling or perceive something they didn’t see before. It’s a revelation or a gentle coming-to-terms moment. No matter what you write, it has to be about, and directly involve, your MC.

Time: This is not a rushed project with a deadline so take it slow as you sketch it out. Allow the pieces to come to you bit by bit. And for heaven’s sake, use the senses.

Think for a moment about the lighting in this scene. As you imagine it, what shadows are cast? Does anything catch and reflect the light? What’s the temperature and how does your MC’s body react to it? Is there a scent and is it pleasant or stinging? What sounds are present – thundering cacophony or whispering winds? What is now silent? Is your MC’s mouth dry or do tears run down their cheeks?

Are they alone? Is your MC touching something or someone? Who, or what, is absent?

Using the senses will immerse the reader in the scene. Bonus for you, writer: engaging the senses will draw you into the scene like nothing else. And double bonus: when you get back to writing the middle, keep using the senses and your story will sing.

Back to Main Character: Consider the MC’s wants and needs that you, of course, have laid out in the opening scenes (if you’re uncertain, stop right here and go back to the beginning to make sure you have.) Bring closure to those wants and needs. Maybe the MC figured out long ago (in that middle you haven’t written yet) that their want was wrong all along. Give your MC a moment to acknowledge that one last time. And then wrap your arms around that essential need your MC didn’t even know they had and give us one last reflection.

Be Open to Change: Remember this is just your first draft and by the time you finish the whole story, you may know that the ending you wrote isn’t quite right. Maybe you’ll need an entirely different ending. But this is not a wasted exercise. Far from it.

I warrant writing the imagined ending scene will, at the very least, give you a greater connection with your MC and inspire a return to writing the rest. Or maybe it will help you realize your beginning isn’t working and you’ll need some serious editing to craft the right opening.

But what if writing this exercise IS the ending of your story? Our subconscious is constantly steering us. If you allow it to work its magic, it just might move you from Why the heck did I even start this book? to Why the heck did it take me so long to get back to this book?

And with that, I can only offer you this: The End.

Thoughts on short fiction

Thoughts on short fiction

Gwynn Scheltema

With the shortest day of the year around the corner, I thought I would write today about short fiction. I began my writing journey writing short stories and poetry and in many ways , I think the two are alike.

Here are some of my random thoughts on writing short fiction. Interestingly, the same perspectives can be applied to writing poetry.

  • Short stories are like poems in that they steer the reader into reading the piece more than once, and the reader finds something new on each reading.
  • A “mainstream” short story can be about anything: a mood, a character, a setting, even a flashy writing style. A genre short story is about an idea. The fictional elements—character, plot, setting, etc.—are only there to dramatize the idea.
  • One idea is enough for a story. Two is more than enough. Three is too many.
  • The more extraordinary the idea, the more ordinary the language. For experimental writing choose everyday events. The stranger the idea, the more real the world must seem to be.
  • Know whose story it is, who is telling the story, and why.
  • The short story is a controlled release of information. Never rush or compact it. The fewer the words, the more air it needs to breathe.
  • Symmetry is more important than plot. A short story must make a pleasing shape, and close with a click. Repetition is good for symmetry but must be used sparingly, like salt.
  • One world only. Dreams are out of place in a short story.
  • One POV is enough. Two is more than enough. Three is too many.
  • Go easy on character descriptions. Nobody cares what your characters look like. They only need to be able to tell them apart.
  • Leave stuff out. It’s what’s left out that makes what’s left in do its work more effectively.
  • Withhold as much information as possible for as long as possible. When the reader knows everything, the story is over.