How to Write a Short Story (with NO experience!)

Summary

In 'WritersLife Wednesdays', Abbie debunks common myths about short story writing, encouraging writers to focus on what matters. She challenges the notion that one must read short stories or write them before attempting a novel, arguing that all writing is practice and one's best work evolves with time. Abbie emphasizes the importance of plot, character transformation, and theme in short stories, suggesting that stories should resonate with the author and the reader. She advises writers to embrace their unique storytelling style, regardless of traditional frameworks.

Takeaways

• 📚 Writing short stories doesn't require extensive reading of others' work; it's more about your unique creative process.
• 🚫 Debunking the myth that you must write short stories before attempting a novel; you can start with a novel if that's your inclination.
• 🎨 Practice is crucial in writing, and short stories offer a low-pressure environment to hone your craft.
• 🌟 Fan fiction is suggested as an excellent medium for non-serious, fun practice that doesn't need to meet publishing standards.
• 💡 Viewing all writing as practice can help silence the inner critic and enjoy the writing process without fear of judgment.
• 📈 Recognize that your writing will improve over time, but also acknowledge that your current work is your best at this stage.
• ❌ Reject the idea that short story ideas must be small or simple; complex narratives can be crafted effectively in a short format.
• 🧩 Understand that the true essence of a story lies in character transformation, not just the events that occur.
• 🌈 When considering your story's format, ask if it's about a journey or a single significant event to determine if it's suited for a short story or a novel.
• 🔍 Focus on the internal conflict of your characters to reveal their misbeliefs, which are often the antithesis of your story's theme.
• 💭 Embrace non-linear narration in short stories, allowing for more abstract and complex thought processes that may not follow traditional plot structures.

Q & A

What is the main purpose of 'WritersLife Wednesdays'?

The main purpose of 'WritersLife Wednesdays' is to help writers make their stories matter and make their author dreams come true.

What is a common myth about writing short stories that the speaker debunks?

A common myth debunked is that writers must read short stories before writing their own, which the speaker states is not true for all writers.

Why does the speaker argue against the idea that one must write short stories before attempting a novel?

The speaker argues against this idea because it's not a requirement to write short stories to be qualified to write a novel, and it can be a toxic way to view writing progress.

What does the speaker suggest as an alternative to writing short stories for practice?

The speaker suggests that fan fiction can be a great medium for non-serious practice writing as it doesn't have to worry about being good enough to publish.

What quote by Seth Godin does the speaker mention, and how does it relate to writing practice?

The quote by Seth Godin is, 'The practice is not the means to the output, the practice is the output, because the practice is all we can control.' It relates to writing practice by emphasizing that the act of writing, not just the end product, is what writers can control and improve.

What is the speaker's stance on the necessity of a theme in a short story?

The speaker believes that a short story should have a theme or truth to it, arguing that stories should mean something to the reader and not just be plot-driven.

How does the speaker suggest determining whether an idea is better suited for a short story or a novel?

The speaker suggests asking questions like 'How long or extensive do I want to make this character's journey?' and 'Does the idea span an entire journey or just a single significant event?' to determine if an idea is better for a short story or a novel.

What is the role of internal conflict in a short story according to the speaker?

Internal conflict is the secret ingredient to capturing the reader's attention, as it helps the reader understand why the story matters to the characters.

Why does the speaker discourage the belief that a short story must be complex and grand to be a novel?

The speaker discourages this belief because some of the best novels and films are small scale stories, and it's the character's transformation, not the complexity of the plot, that makes a story.

What advice does the speaker give for writers who feel they need to write short stories before writing a novel?

The speaker advises writers to disregard this myth and write the novel if they feel they have a bigger, more complex story in their head, encouraging them not to hesitate or second guess themselves.

Outlines

00:00

📚 Debunking Short Story Writing Myths

In this segment, Abbie addresses common misconceptions about writing short stories. She reassures writers that they don't need to be avid readers of short stories to write their own and that it's not a prerequisite to write short stories before attempting a novel. Abbie encourages writers to practice without fear of judgment and to view all writing as a form of practice, regardless of its perceived quality. She emphasizes the importance of writing what matters to the writer, as this authenticity will resonate with readers.

05:04

🎭 The Essence of Short Stories: Plot, Characters, and Theme

Abbie discusses the fundamentals of crafting short stories, starting with plot. She challenges the idea that story size dictates whether an idea is suitable for a short story or a novel, advocating for the exploration of character transformation over complex plots. She then delves into character development, suggesting that short stories typically focus on an event that leads to a character's transformation, rather than a full journey. Abbie also stresses the importance of theme in short stories, arguing that a story should convey a truth or idea that resonates with the reader. She advises writers to understand their character's internal conflict and misbelief, which should contrast with the story's theme.

10:06

🚀 Breaking the Mold: Non-Linear Narration and Personal Connection

In the final part, Abbie encourages writers to break free from traditional storytelling structures if their story calls for it. She validates non-linear narratives and abstract thought processes as valid forms of storytelling. Abbie emphasizes that there are no hard and fast rules in writing short stories, as long as the story matters to the writer and the characters. She highlights internal conflict as a key element to engage readers. Abbie ends with a call to action for viewers to like, subscribe, and join her Patreon for more in-depth storytelling guidance.

Keywords

💡Short Story

A short story is a brief work of fiction that typically features a single theme or character and is usually limited in scope. In the video, the speaker debunks myths about short story writing, emphasizing that it doesn't have to be a stepping stone to writing a novel and that it can be a meaningful form of expression on its own. The speaker uses the concept of short stories to encourage writers to focus on what matters to them, rather than adhering to traditional expectations.

💡Myth Debunking

Myth debunking refers to the process of dispelling commonly held but false beliefs. In the context of the video, the speaker addresses several myths about writing, such as the necessity of reading short stories before writing one or the idea that one must write short stories before attempting a novel. By debunking these myths, the speaker aims to empower writers to break free from restrictive thinking and to write in a way that is authentic to them.

💡Character Transformation

Character transformation refers to the changes a character undergoes throughout a story, often as a result of their experiences and conflicts. The video emphasizes that the essence of a story is not the plot but the transformation of the character. This concept is central to the speaker's argument that stories, whether short or long, should focus on meaningful character development, as illustrated by the question, 'How long or extensive do I want to make this character's journey?'

💡Internal Conflict

Internal conflict is the struggle a character faces within themselves, often between their desires, beliefs, or fears. The video suggests that understanding a character's internal conflict is crucial for creating a compelling story. The speaker advises writers to explore what a character thinks will make them happy, what they fear, and their misbeliefs about the world, which are often the opposite of the story's theme.

💡Theme

A theme in literature is a central idea or message that the author wants to convey. The video argues against the notion that a short story can be merely plot-driven without a theme. The speaker insists that a story should present an idea or truth that matters to the author and, by extension, to the reader. The theme is what gives a story depth and resonance, making it memorable and meaningful.

💡Practice

Practice, in the context of writing, refers to the act of repeatedly engaging in the craft to improve one's skills. The speaker encourages writers to view all their writing as practice, which helps to silence the inner critic and enjoy the writing process. The video uses the quote by Seth Godin to reinforce the idea that practice is not just a means to an end but an end in itself, allowing writers to focus on the process rather than the outcome.

💡Non-Linear Narration

Non-linear narration is a storytelling technique where the narrative does not follow a straightforward chronological order. The video touches on this concept when discussing the flexibility of short stories, suggesting that they can explore a character's complex thought processes or past experiences in a non-traditional, abstract manner. This approach can add depth and originality to a short story, as it does not adhere to a strict cause-and-effect structure.

💡Self-Criticism

Self-criticism is the act of critically evaluating one's own work. The video warns against the negative impact of excessive self-criticism on the writing process, suggesting that it can lead to intimidation and hinder creativity. The speaker encourages writers to focus on what matters to them and to write without the pressure of meeting unrealistic standards.

💡Fan Fiction

Fan fiction is a type of fiction written by fans of a particular work of fiction, featuring its characters and often its world. In the video, the speaker recommends fan fiction as a form of non-serious practice writing, where writers can experiment and develop their skills without the pressure of creating a publishable work. This serves as an example of how writers can approach their craft in a more relaxed and enjoyable manner.

💡Creativity

Creativity in writing refers to the use of imagination to create original content. The video emphasizes the importance of allowing creativity to flow freely, without being constrained by myths or traditional methods. The speaker encourages writers to explore their unique ideas and to express them in a way that is true to their vision, whether it's through a short story or a novel.

Highlights

Dispelling common myths about short story writing and focusing on what truly matters.

The importance of writing a story that matters to you, regardless of its length.

Debunking the myth that you must read short stories before writing your own.

The fallacy of needing to write short stories before attempting a novel.

The misconception that short stories are merely practice for writing novels.

Encouragement to write a novel if you have a complex story in mind, without prior short story experience.

The idea that practice in writing is not just a means to an end but an end in itself.

The significance of character transformation in storytelling, not just the plot.

Questioning whether your story idea is better suited for a short story or a novel based on character journey length.

The difference between a novel's journey and a short story's event in character development.

The necessity of a theme in short stories for them to resonate with readers.

The importance of understanding a character's internal conflict to craft a meaningful story.

Advice against forcing a drastic character transformation in a short story for fear of it feeling rushed.

The role of a character's 'aha' moment in conveying the story's theme.

The option for short stories to explore non-linear narration and abstract thought processes.

Emphasizing that there are no rules in short story writing and that it should be a personal, meaningful endeavor.

The power of internal conflict in capturing the reader's attention and making the story matter.

Invitation to join the Patreon community for exclusive storytelling guidance and support.

Transcripts

- What's up my friend?

Abbie here and welcome back to "WritersLife Wednesdays"

where we come together to help you make your story matter

and make your author dreams come true.

Are you struggling to write a short story?

Like no matter what you write, you're not happy with it,

and no matter what advice you take, nothing seems to help?

If so, don't worry, you're not alone, and in this video,

I'm going to debunk some of the common

short story writing myths that are probably holding you back

and show you what to focus on, what is important,

so that you can write a short story that matters to you.

Let's go.

Why does your story matter?

Good question.

What if I told you that there's a science

behind every great story?

I don't just teach you how to write,

I teach you how to change the world with your story

and make your author dreams come true.

There are a few common myths about writing short stories

that discourage so many writers

and create this very restricted one-size-fits-all method

for short story writing,

which is actually creatively damaging.

Most writers will tell you

that before you go to write a short story,

you need to read short stories.

Like, you can't get started right away,

you have to go educate yourself first.

This is not true.

Reading short stories might be helpful to some writers,

but not all of them, because here's the unpopular truth,

not all writers are big readers.

So no, you don't have to go and educate yourself

by consuming stories

that other writers tell you you should read.

If you enjoy reading short stories

and you get inspiration from them, cool, go ahead,

but don't look at it as the path that you have to take

that will get you to where you want to go.

That will probably cause you to be more self-critical

and more intimidated by the idea of writing anything at all.

Most writers will also tell you

that you should write short stories

before trying your hand at something more complex,

like a novel.

Like, "Don't think that you can go

and write a novel right away,

because you need to write a bunch of short stories

before you're seasoned enough to write a novel."

This is also a lie.

You don't have to write short stories

in order to be qualified to write a novel.

I think most writers think of short stories

as like the cheap art book of painting,

you know, like the thin paper

that's not very good quality that you practice on,

and then the novel is like the thick, fancy,

expensive watercolor paper,

and you better not touch that unless you're a great writer

and you're going to write something amazing.

Which is just a really toxic way to look at writing.

Now I am all for practicing, okay?

I think practice is very important

and short stories are a great way to practice writing

because the best practice comes

when you're not taking something too seriously.

Short stories are ideal for this

because you probably don't have to publish it

or even show it to anybody else

if you don't want to.

My personal favorite medium

for non-serious practice writing is fan fiction,

because you definitely don't have to worry

about it being good enough to publish.

Oftentimes writers, especially new or insecure writers,

will treat their practice projects with contempt,

like this attitude of, "Oh, it's not good,

it's really actually bad, please don't read it."

But what if we looked at all of our writing as practice?

The thing is, our best is constantly changing,

and we can't improve without practice.

There's a great quote by Seth Godin that goes,

"The practice is not the means to the output,

the practice is the output,

because the practice is all we can control."

I love looking at my writing this way,

because it allows me to silence the inner critic

and just enjoy my writing exactly where it is,

exactly where I am in this moment.

Will you become a better writer in the future?

Yes, because we all become better at what we do,

given time and experience,

but that doesn't mean

what you're writing at the moment is bad.

It's your best right now, and your best is all you can do.

So I'm a big supporter of practicing, okay?

Write short stories when you feel like it,

but don't feel like you have to write

a bunch of short stories

before you can work your way up to writing a novel.

That's a myth and it needs to stop.

So if you came to this video

because you were told that you need to write a short story

or a bunch of short stories before you can write a novel,

don't listen to them, listen to me, write the novel.

If you feel like you have a bigger,

more complex story in your head, then just do it.

Don't hesitate, don't second guess yourself,

don't fall into the trap of believing

that some other writer is better or smarter than you.

We're all on this journey together,

and no two writers are exactly alike.

All right, now that those myths are out of the way,

let's talk about the fundamentals of short stories.

First, plot.

I've heard a lot of people say

that the way to tell if your plot is good for a short story

or good for a novel is to go by story size.

So if you have a small idea, small premise,

that's better for a short story,

if you have a bigger, more complex premise,

then it's a novel.

This is also not true.

Some of my favorite novels and full-length films

are very small scale stories.

In fact, as a consumer, I prefer smaller, simpler stories

where there's not much of a plot going on,

because it allows the characters to shine.

So can we please do away with this notion

that your story idea has to be this complex,

exciting, grand idea in order to be a novel?

It's just not true.

If you've seen any of my videos,

you know that story is not about the plot.

It's not about what happens.

It's about how your character transforms

as a result of their journey.

So that being said,

here's a better question to ask yourself

to figure out whether your idea is best suited

for a short story or a novel.

Not, "Is this a small idea or a large idea?"

Instead, ask yourself, "How long or extensive

do I want to make this character's journey?

Will there be side characters or subplots?

Does the idea span an entire journey

or just a single significant event?"

That last question is very important

because it's one of the easiest ways to tell

whether you have enough content for a novel

or if this idea is meant to be a short story.

Fundamental number two, characters.

Typically, a novel follows a journey

and a short story follows an event.

So instead of thinking about it like,

character is transformed as a result of their journey,

think of it like,

character is transformed as a result of this event.

And of course the event causes them

to go on an internal journey, which changes them.

So ask yourself if you really want

to deeply explore this character's transformation

and go on a whole journey with them,

or if you would rather give them

more of a subtle character arc,

just asking a question, presenting an idea.

I wouldn't recommend giving your character

a drastic 180-degree transformation

because it will probably feel a bit rushed

within the framework of a short story,

but they can still have an aha moment

because your story has to present an idea,

has to present a truth, has to matter to you, right?

Which leads us to the third fundamental of short stories,

which is theme.

Some people will tell you

that your short story doesn't need to have a theme.

They'll tell you, "It can just be entertaining."

Wait, so it's a plot driven story,

so it doesn't matter, essentially.

Sorry, I gotta be honest.

If you want someone to read your short story

and get something out of it and enjoy it,

but also remember it, if you want it to stick with them,

then you you better be writing some kind of theme

or truth into this story.

You better be sharing something kind of idea with somebody.

That's why you write, right?

I don't subscribe to this idea

that a story can just be plot-driven and have no meaning,

and as long as it's entertaining, it's okay.

Like, who cares?

I care, because if I'm going to spend my time

reading this story, it better mean something to me,

'cause the awful is, plot can't sustain your story.

It might hook us, pull us in with an irresistible premise,

but if we don't quickly understand

why what's happening matters to the characters,

we don't know why it matters to us.

So before you nail down your theme,

you need to figure out your character's internal conflict,

ask yourself, "What does my character think

will make them happy?

What are they afraid of?

What is their misbelief about the world?"

And basically your character's misbelief

will be the exact opposite of your theme.

So to figure out

exactly what your character's misbelief or fatal flaw is,

use my simple process, please.

It will save your life,

and I explain it in this video right here.

The point is,

your short story has to matter to you, the author.

If it doesn't matter to you,

how is it supposed to matter to anyone else?

Side note about pros and non-linear narration.

Your short story might not follow the traditional flow

of a plot or linear events happening.

It might be more abstract, like your main character

just having a really complex thought process

about their life or their past or their relationships,

and it might not follow the flow of cause and effect

that a normal plot follows.

If that's the case,

don't feel like you have to fit into a specific framework

to make your short story more like everything else, okay?

This is art, you should do it your way,

and there's really no one-size-fits-all method

to short story writing.

That's my most important point here.

There are no rules, okay?

All you have to do

is make sure your short story matters to you

by making sure it matters to your characters,

whether they're going on a journey,

just experiencing an event, or reflecting on their past.

Internal conflict is the secret ingredient

to capturing your reader's attention.

When we know why it matters to the characters,

we know why it matters to us.

And when something matters to us,

we pay close attention to it.

Boom, that's it.

I hope this video has given you some clarity

when it comes to writing your fabulous short story,

and if it did, smash that like button to let me know.

Subscribe to this channel if you haven't already

because I post writing videos

and publishing videos every single Wednesday,

and I would love to have you here in the community.

Also, be sure to check out my Patreon

because that's where we go beyond videos

and take storytelling to the next level.

The Patreon community is not only the best way

to support what I'm doing here on YouTube,

but it's also the only way to connect one-on-one with me

and get better guidance on your story.

So go to patreon.com/abbieemmons

and check out all the awesome,

exclusive content I have over there for you.

Until next week, my friend, rock on.

(chuckles) Oh, great (snaps fingers).

A character's misbelief or fatal flaw.

Hello, talking.

(chuckles) I can be so ridiculously salty today.

I've been saving up my salt,

and I'm just like pouring it all into this video.