Many writers, myself included, tend to devalue short stories because of their brevity. “Real” writers are supposed to craft novels. Some of the most famous authors of the twentieth century, however, were masters of the short story. Think William Faulkner, Ray Bradbury, Oscar Wilde, Flannery O’Connor, and O. Henry. At only 5 or 10 percent the length of a novel, a short story may seem far less intimidating, if not downright easy, to write. But short stories come with their own set of challenges that can help hone your skills for larger projects.
You’ve probably heard the expression “That was epic!” thousands of times. But what does it actually mean? Epic is used to describe a myriad of experiences, but we typically treat it as a synonym for big, awe-inspiring, or just plain cool. Movies are full of epic clashes between good and evil. And if you’re hungry enough, hamburgers can be epic too.
Have you ever filled out a character questionnaire and wondered how the protagonist’s birthday, favorite color, and hobbies are supposed to enhance your story? Many of the questionnaires you can find online focus on superficial details. But even the ones that probe deeper may fail to flesh out a character’s worldview. Every person has one, whether they acknowledge it or not, and it defines who they are, how they think, and why they live the way they do. Without it, you’ll struggle to shape characters readers can empathize with.
The cinnamon roll. A smol bean. We invent all kinds of affectionate nicknames for the cuddly teddy-bear characters we adore. But what about characters who have a few prickles? Or are downright cold? As writers, we strive to create characters readers will root for. Otherwise our books won’t stay open for long. But not every story requires a happy-go-lucky Olaf. Sometimes a story needs an emotionally detached Elsa. But how do we endear aloof characters to readers? If we tinker with four areas, we can warm these characters up just enough that readers won’t get frostbitten.
Human beings are hard to figure out. We rarely express our full thoughts or feelings, and when we do, misunderstandings still arise. How we process and react to situations is unique and impacted by everything from mood to history to personality. As we’re crafting characters who are intended to embody specific worldviews or lessons, we need to keep human complexity in mind. The strongest, most memorable characters expose their layers during pivotal moments rather than all at once.
When crafting a story, writers spend as much time agonizing over the characters who populate it as they do the events that happen. Without relatable, realistic, and distinguishable characters, readers will feel disconnected, no matter how interesting the setting or plot is.
A plot may stimulate readers’ minds, but even the most unforeseen twists won’t linger in their memory unless the events are deeply rooted in the characters’ lives. Strong character development engages readers’ emotions, giving them someone to invest in and identify with. It’s a crucial component of fiction, but the execution looks starkly different in a plot-driven story than in a character-driven one. By comparing the two styles, writers can learn how to capitalize on the one that best serves their work-in-progress.
When you think about fast-paced stories, what comes to mind? Cliffhangers that keep you awake late at night, turning pages so quickly that you get paper cuts? Or anemic character arcs and half-hearted themes. Sometimes films and books sacrifice character development for the sake of fight scenes and car chases. But if a character’s experiences don’t change him at all, what’s the point?
Strong women, as they’re portrayed in a lot of fiction and films, have a problem. They act like men (albeit hot men with curvy bodies and perfect hair, teeth, and nails). This bothers me, and it should bother you too, because we’re being fed a lie. Male and female perspectives each possess great worth, and both genders are vital aspects of the human experience. Neglecting one or the other in a story guts the truth’s potency.
As long as a villain has a reason for his wicked behavior, he’ll seem real. Right? Or will he? Shoppers grow hungry but don’t steal. Bank tellers get angry but don’t beat up customers. Hardships tempt people to commit crimes daily, but they control themselves.