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mbarker.livejournal.comOriginal Posting 11 August 2011
Since I can tell that everyone is thrilled to be reading these (I can see right through your monitor... look at those glassy eyes, that intent gaze!)... Here's a six step plan to help you write a short story. Ready?
Writer's Digest, February 1992, p. 20-22 have an article by Jack Bickham with the title, "The Writer's Digest Short Story Blueprint." It's the first part of six. The basic idea is that Jack Bickham is going to coach us through writing a short story. It's a workshop. All right? So let's get started.
Jack starts off with the observation that stories are about people. Usually a protagonist, and often an antagonist. The reader is supposed to like and identify with the protagonist, and dislike antagonist. Sounds pretty simple, right.
But just what kind of personality traits do you find appealing or detestable? Well, your first assignment is to make a list of personality traits that you admire or detest in real people you know or from vivid fictional characters.
How do you make a list? Well, Jack uses file cards. And for this assignment, he suggests starting by, on a single file card, writing down a single aspect of personality that you admire. Then on that same card, write down an action or a handful of spoken words that will show this trait to a reader. It might be something you've seen, or just something you imagine. But make that personality trait concrete for your reader.
Now, next do the same kind of thing for something that is despicable. And under the heading, write down a specific action or speech that shows that trait in action.
Keep going until you have about 20 of each kind, good and bad. You can use three or four words for the trait, but you looking for isolated traits, not big lists. Your cards don't need to be consistent -- they can be traits in different characters. All you're trying to do is identify what you like and dislike.
So with your two lists of traits -- on file cards, Excel spreadsheet, or word document, whatever works for you, next we need to consider what kind of the story you want to write.
Jack suggests that there are three kinds of stories (yes, other people have seven, 20, one monomyth, or whatever. But today, we're studying Jack's ideas, okay?). Conflict, decision, and discovery. He also suggests that stories start with a person who has a vague or even well realized lack -- "Something inside them that aches for change or repair." Life has knocked them out of balance, and something needs to be fixed.
In conflicts, the character has a specific story goal, which they think will make them happy again. But,someone else in the story opposes that quest. They struggle, and in the end, after a confrontation, someone wins and someone loses.
In a story of decision, the central character has a lack or problem to fix. There may not be a clear villain. The major character struggles, and eventually reaches a point where they need to make a hard decision and take some action that is at least potentially life-changing.
In a story of discovery, the character struggles to achieve some kind of realization, which again has the potential to be life-changing. These stories are often quiet and subtle, depending on style and nuance, and may end without as much apparent significance. These are also the hardest to make convincing for readers.
So which one do you like? Well, Jack suggests starting by making some more lists. First, make at least 10 character objective cards, listing something that your character would be willing to fight for. Objects, accomplishments, whatever drives them. Then turn the cards over and describe the kind of opposition your character might run into. Use a villain, and describe why and how they would get in the way. Second, do the same sort of thing for story decisions. Write a difficult character decision -- choose between two jobs, etc. on the back of these cards, make notes about story angles that could make the decision more difficult. Third, make it least 10 discovery cards. On the front, pinpoint the lack or sadness or need that the character faces. On the back, describe a subtle change that might suggest that things are now different.
When you do this, one type of story card will probably come easily. You'll probably find that these are the kind of stories you like to write. But save everything. You never know when that idea that seemed really useless will turn out to be just right.
Finally, Jack suggests a bit of field research. Basically, listen to the dialogue around you. Pay attention to wording, interruptions, slang, all of that. And whenever you can, make a dialogue card about interesting aspects of what you hear. Practice observing.
Checkpoint. Before you go on to step two, you should have stacks of cards or lists somewhere, with your good and bad traits, stories of objectives, decisions, and discoveries, and some interesting dialogue. You may have other lists, too. If you got all that, it's time to go to step two, setting up your story. If you don't have it, you need to do your homework.
That's step one!
So:
Write those file cards. (Is there an electronic equivalent that is really as useful? Y'a know, I vaguely remember something on the old Apple computers that was an electronic card file... and people who used it swore that it was the most useful program. I think it died somewhere along the way, though...)
Oh, well. Make your lists, in whatever media you like.
Since I can tell that everyone is thrilled to be reading these (I can see right through your monitor... look at those glassy eyes, that intent gaze!)... Here's a six step plan to help you write a short story. Ready?
Writer's Digest, February 1992, p. 20-22 have an article by Jack Bickham with the title, "The Writer's Digest Short Story Blueprint." It's the first part of six. The basic idea is that Jack Bickham is going to coach us through writing a short story. It's a workshop. All right? So let's get started.
Jack starts off with the observation that stories are about people. Usually a protagonist, and often an antagonist. The reader is supposed to like and identify with the protagonist, and dislike antagonist. Sounds pretty simple, right.
But just what kind of personality traits do you find appealing or detestable? Well, your first assignment is to make a list of personality traits that you admire or detest in real people you know or from vivid fictional characters.
How do you make a list? Well, Jack uses file cards. And for this assignment, he suggests starting by, on a single file card, writing down a single aspect of personality that you admire. Then on that same card, write down an action or a handful of spoken words that will show this trait to a reader. It might be something you've seen, or just something you imagine. But make that personality trait concrete for your reader.
Now, next do the same kind of thing for something that is despicable. And under the heading, write down a specific action or speech that shows that trait in action.
Keep going until you have about 20 of each kind, good and bad. You can use three or four words for the trait, but you looking for isolated traits, not big lists. Your cards don't need to be consistent -- they can be traits in different characters. All you're trying to do is identify what you like and dislike.
So with your two lists of traits -- on file cards, Excel spreadsheet, or word document, whatever works for you, next we need to consider what kind of the story you want to write.
Jack suggests that there are three kinds of stories (yes, other people have seven, 20, one monomyth, or whatever. But today, we're studying Jack's ideas, okay?). Conflict, decision, and discovery. He also suggests that stories start with a person who has a vague or even well realized lack -- "Something inside them that aches for change or repair." Life has knocked them out of balance, and something needs to be fixed.
In conflicts, the character has a specific story goal, which they think will make them happy again. But,someone else in the story opposes that quest. They struggle, and in the end, after a confrontation, someone wins and someone loses.
In a story of decision, the central character has a lack or problem to fix. There may not be a clear villain. The major character struggles, and eventually reaches a point where they need to make a hard decision and take some action that is at least potentially life-changing.
In a story of discovery, the character struggles to achieve some kind of realization, which again has the potential to be life-changing. These stories are often quiet and subtle, depending on style and nuance, and may end without as much apparent significance. These are also the hardest to make convincing for readers.
So which one do you like? Well, Jack suggests starting by making some more lists. First, make at least 10 character objective cards, listing something that your character would be willing to fight for. Objects, accomplishments, whatever drives them. Then turn the cards over and describe the kind of opposition your character might run into. Use a villain, and describe why and how they would get in the way. Second, do the same sort of thing for story decisions. Write a difficult character decision -- choose between two jobs, etc. on the back of these cards, make notes about story angles that could make the decision more difficult. Third, make it least 10 discovery cards. On the front, pinpoint the lack or sadness or need that the character faces. On the back, describe a subtle change that might suggest that things are now different.
When you do this, one type of story card will probably come easily. You'll probably find that these are the kind of stories you like to write. But save everything. You never know when that idea that seemed really useless will turn out to be just right.
Finally, Jack suggests a bit of field research. Basically, listen to the dialogue around you. Pay attention to wording, interruptions, slang, all of that. And whenever you can, make a dialogue card about interesting aspects of what you hear. Practice observing.
Checkpoint. Before you go on to step two, you should have stacks of cards or lists somewhere, with your good and bad traits, stories of objectives, decisions, and discoveries, and some interesting dialogue. You may have other lists, too. If you got all that, it's time to go to step two, setting up your story. If you don't have it, you need to do your homework.
That's step one!
So:
- at least 20 traits you admire, each with a concrete action that would show that trait to a reader.That's just to get started! All right?
- At least 20 traits you detest, each with a concrete action that would show that trait to a reader.
- at least 10 character objectives, things that your character would be willing to fight for, and the kind of opposition they might run into.
- At least 10 character decisions, things that your character might agonize over, and what would make it harder.
- At least 10 character discoveries, things that might change in your character, and signs that the change had taken place.
- Finally, a collection of interesting observations about real dialogue.
Write those file cards. (Is there an electronic equivalent that is really as useful? Y'a know, I vaguely remember something on the old Apple computers that was an electronic card file... and people who used it swore that it was the most useful program. I think it died somewhere along the way, though...)
Oh, well. Make your lists, in whatever media you like.
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