Showing posts with label short stories. Show all posts
Showing posts with label short stories. Show all posts

Wednesday, March 10, 2021

Short Stories

 


            Have you ever tried to capture a childhood memory -- that illusive remnant of an adventure softened by the shadows of time? As adults, we might wonder if those events really happened, or if they are only figments of our imagination.  We might laugh now at our naiveté, but at the time, those painted carousel horses were very much alive, the pirate ship held tons of gold, and the cowboys always won.                    For me, there was a candy dish; but not your ordinary candy dish of course…

            "Are we there yet?"

The road was bumpy, and Dad swerved to miss a snake slithering across the gravel.  It was hot, but July is always hot in Iowa, and back in 1956, air conditioning wasn't included on the sticker price of our Chevy station wagon.  It didn't bother me, though, because I was seven years old.  I was tough, and not about to let hot weather stop me from enjoying the drive that would take me to my adventure.

            Bugs splattered against the windshield, and a big grasshopper ricocheted off the rear view mirror to land on the back seat.  Dad said to get it out of the car, but one look at those beady eyes convinced me it wouldn't hurt if the grasshopper went with us. 

            Dad was taking me to my Aunt Bea's -- a farm with horses and other animals and homemade cookies and my cousin Craig.  We would take baths in a galvanized tub hardly big enough to sit in; we had to hand-pump water into the kitchen sink.  We played from sun-up until Aunt Bea rang the huge dinner bell, then after meals we played some more.

            At that time, there were no convenience stores on the corners, no public swimming pools and skating rinks or shopping at the mall every afternoon.  There were no computers, video games or cell phones; no colored TV in every room or central air conditioning. 

             Instead, we had acres and acres of green grass and blue sky in which to play; square hay bales to hide behind when playing cowboys; a big house with a huge porch and cookies hot from the oven.  Our imaginations never limited the source of our adventures, and we didn't need a lot of toys to occupy our time.  Unless, of course, you counted the dollar's worth of plastic cowboys we bought at the local Five & Dime. 

            Aunt Bea had a big old farmhouse -- far too large for just the three of them, so the front rooms had been closed off by a set of pocket doors.  White slipcovers blanketed the furniture and the draperies were always closed. Voices echoed eerily off the chill walls and hardwood floors should anyone happen to step into what looked like a mausoleum.    

            It was as though an entirely different family lived there, but they were never home.  Even so, you had to walk past the connecting doors quietly, for it wouldn't be polite to disturb them. 

            "Don't say a word," my cousin would whisper, a finger to his lips.  Of course, I believed him -- he was older than me and he lived there all the time.

            It was more fun living in the back of the house, anyway, because there were two kitchens.  In one, Aunt Bea put up summer vegetables from the garden.  There were big wooden worktables, the pump to get water into the sink, and a big, pot-bellied stove. 

            Aunt Bea made cookies in the other kitchen.  It was by the living room, where Uncle Clair watched black & white TV and an old sidesaddle hung on the wall.  My cousin and I would lie on the hardwood floor and play with little cars that went in a metal garage and rolled down the ramp to the car wash.

            Every day we played cowboys, hiding behind hay bales and shooting at each other with plastic handled pistols.  We'd take turns being the cowboys and bad guys because it was only fun when there was someone to shoot at.  After all, with just two of us, it would be too easy to steal horses from imaginary outlaws.  Even so, it was easy to get bored.  So we would hide out and try to decide what to do next.

            We could go get something to eat or drink.  It was hot and we played hard.  Of course, we couldn't just walk in and ask -- that would have been too simple -- so we decided to sneak in through the front of the house.

            The old weathered boards of the porch creaked beneath our bare feet.  The screen door swayed on rusty hinges and created eerie noises that belonged to the inky night, not to broad daylight.  I giggled and my cousin shushed me -- we couldn't dare be caught.  We silently crept closer to the door, keeping low beneath the windows.  Craig turned the handle -- a soft click and the door squeaked open, inch by noisy inch.  I held my breath, sure that any second we would be discovered.  Craig pushed on the big wooden door -- I grabbed his arm and hung on.  After all, he was bigger than me and much, much braver.

            Shadows loomed gigantic across the wood floors.  Shrouded furniture turned to ghostly shapes before our eyes and towered larger than any monster either of us had ever seen.

            "Let's go," I whimpered, ready to forget the entire escapade.

            "We can't," Craig jerked me to a stop and pointed. 

            There, like a glittering crystal crown, a candy dish perched on top of the dark wood coffee table.  We stood in silent awe as it beckoned us.  Sunshine filtered through a gap in the draperies to form a spotlight, causing the crystal to wink knowingly at us.  Dust motes floated down the sunbeams and danced around the crystal, paying homage.

            We crept on hands and knees now, our eyes wide and our hearts pounding.  Any minute unbidden creatures would jump up and screech at us from behind the white sheets.  Beasts from beneath the couch would snatch our legs and drag us, screaming and fighting, beneath the draped edge, never to be heard from again. 

            Regardless of the danger, we slithered closer, for the candy dish proved a stronger lure than the threat of unseen monsters.

            Even as our grubby hands touched the sparkling cut glass, we cast furtive glances over our shoulders toward the doors that separated this section from the real house.  Craig whispered to be careful, for we not only had to remove the lid without letting it click against the side, but we must put it back so no one would know we had been there. 

            Our adventure became more difficult the minute Craig lifted the lid.  It had a fluted edge, and if the little curves didn't fit together just right, it would fall off to the side and break.  Not to mention making an incredible noise. 

            I could hear Aunt Bea moving around in the kitchen on the other side of the pocket doors.  The dog barked outside, and a horse neighed in the distance.  My heart beat louder than any ordinary noise, and I knew for sure she could hear us.  I held my breath as I reached into the bowl.  My hand closed around the prize -- sweet, hard bits of sugar.  As quietly as we had come, we left, pulling the door softly closed behind us.

            Those few seconds were as long as we could remain quiet.  With whoops of laughter, we jumped off the porch and raced for the hay bales, falling down to the ground only after we were safely out of sight and no one the wiser.  We laughed as we ate the spoils of our adventure, arguing already over who would lead the secret raid tomorrow.

            We never questioned the reason for a candy dish in a room no one ever entered.  After a week of raids on the ghostly haunt, we never once thought it unusual that the candy dish, sitting alone in a room never used, was always full.  After all, it was summer on the farm, and at seven years of age, it's easy to believe in magic.

***

If you like short stories for a change of pace, I invite you to grab a copy of “Before Tomorrow Comes” -- Can five women with tender hearts find the love they deserve before their secrets and pasts are exposed? This, and all my romance novels are available at Books we Love www.bookswelove.net.

Here’s hoping your memories are magic.

Barb Baldwin

http://www.authorsden.com/barbarajbaldwin

https://bookswelove.net/baldwin-barbara/


Thursday, June 18, 2020

Short Stories and Short Story Contests by Nancy M Bell


Calgary Stampede is cancelled this year so why not come and visit the Stampede in the pages of Come Hell or High Water. to find out more about my titles and where to get your copy of Come Hell or High Water click on the cover above.

Short Stories and Contests

What is a short story?
A short story is usually narrative prose. It typically focuses on a single self-contained incident and includes a small cast of named characters. The short story makes use of plot and other components used in the longer novel, just to a lesser degree.

Types of short stories are determined by word count or topic. For the purpose of short story contests there is usually a minimum and maximum word count which needs to be strictly adhered to.
Short Story Lengths in words:
Traditional: 1,500 to 5,000
Flash Fiction: 500 to 1,000
Micro Fiction: 5-350
It is most common to sell a story that is 1,500 to 3,000 words long.

Short Story Contests.
Should you enter? YES! Of course, you should. Even if you don’t win or get short listed, often you will receive valuable feedback from the judges.
How to decide which contests to enter? First decide what market you are writing for. Fiction or Nonfiction. Then look at what is open for submission and what is coming open in the future. Read the guidelines carefully, paying close attention to the rules and guidelines. Generally, these will include topics or focus of the contest, minimum and maximum length of the entry, entry deadline and method of delivering the entry. Generally, this is by electronic means these days including the use of the Submittable website, although some still ask for hard copy entries. Also pay attention to the entry fee asked for and decide if the cost is within your budget and if you feel it is worth the cost of entry. There is a list of 2020 short story contests online, the Writers Guild of Alberta also lists contests in their newsletter.

Crafting the Short Story.
Now, you need a plan. Again, this is going to be different for everyone. There are two basic ways of going about The Plan. This is what is referred to in author speak as Plotting or Pantsing.
There is no right or wrong way, just what works best for you. What is Plotting and Pantsing?
Plotting is just what is sounds like. The author plots out their story using what ever method works best for them. The plot plan will include, in some form, the following elements:
The Beginning of the Story/The Exposition
Rising Action
Climax or Turning Point
Falling Action
The End of the Story/The Resolution

So, now to start:
Generate the core idea. Ideas are all around us, you just need to learn to recognize them. This often starts from a memory, a fear, a problem, or an incident that resonates with you, stays with you and keeps nudging you to share it.

Write it down. Get it out of your head and onto paper. Rough first drafts are always just that rough. Write everything and anything that comes to mind, don’t worry about word count at this point.
Create the characters from people you know, or sometimes the characters just present themselves to you. Go with whatever feels natural to you. If you’re having trouble, it is easiest to base your character on people you are familiar with and grow them from there.
Trust yourself, believe in yourself. We are all writers and creators.

Now you have the basis, you need to add some structure and start to put things together.
Basic story structure is outlined below:
The Opening
Incident that changes things, sets things in motion
Series of crisis or events that builds tension
The Climax
The End

There are various examples of story structure: The Hero Journey, The Three Act Structure, The 7 Point Story Structure. You can look at these online if you want to delve deeper into them.
The structure should assist you in sorting out your conflict, climax and resolution.
In short: The Hero Journey
Call to Adventure
Challenges and Temptations
Revelation- death/rebirth
Transformation/Atonement
Return

In short: The Three Act Structure
Set Up- establish characters and setting
The Confrontation- appears simple with underlying complexity
The Resolution- a good ending contains high stakes, growth and transformation and a solution

In short: The Seven Point Story Structure
Hook the starting point
Plot Turn 1 conflict that moves the story to the midpoint
Pinch Point 1 pressure on the your protagonist- stumbling blocks in the pursuit of the goal
Mid-Point character responds to conflict with action
Pinch Point 2 more pressure and stumbling blocks between protagonist and the goal
Plot Turn 2 moves story from midpoint to resolution
Resolution where everything up to this point has been heading. Goal achieved and loose ends tied up.


Some other forms of Short Stories.
Anecdote: This is a short account that tells a story about a real person or actual incident. It can be amusing or interesting or both depending on the subject. Anecdotes are often used to support a point in larger work, for example an essay or article.

Drabble: This is a very short work of fiction, generally exactly 100 words not counting the title. This form is used to demonstrate a writer’s ability to express something meaningful in a confined number of words. It is an exercise in brevity.

Fable: This form uses anthropomorphic creatures to illustrate a story with a mora. These may include animals, plants, inanimate object, forces of nature etc) Burgess Thonton’s work in the early 20th century is a prime example, as well as Asesop’s Fables. The moral is usually spelled out for the reader at the end of the story.

Flash Fiction: This is short literary work. No widely accepted word count but usually between 300 and 1,000 words. Generally I have seen then around 500 words in contest rules. Pay close attention to the guidelines of the contests you wish to enter.

Frame Piece: this is not generally used now but has been used in the past. In Walter Farley’s the Blood Bay Colt one of the characters is bed-ridden and reads a book whose contents are shared within the context of the larger story.
It is also useful for introducing the main narrative or setting the reader up for a series of short stories that follow. Flashbacks- the dreaded and should be seldom used flashback- is also an example of this form.

Mini-Saga is a short story of exactly 50 words. A good exercise to learn to remove all but the most pertinent parts of the story or scene.

Story Sequence: this isn’t a novel, but rather a series of short stories within an over all timeframe that together tell a larger story while still remained complete stories in their own right. This is sometimes referred to as a composite novel.

Vignette: this focuses on a single character, setting or scene. No emphasis on conventional structure or story development. Can be stand alone or part of a bigger work.

We can go deeper here and look at three distinct types of short stories. The Epical Story, The Lyrical Story and The Artifice Story.

The Epical Story: realist short fiction. Commonly withholding a part of the narrative. Generally, the best of this type are the ones where in spite of the obvious clues within the narrative, the reveal of the missing part is unexpected from the reader’s POV. The revelation must serve to highlight what came before it, shining light onto what was just latent beforehand and locking with it seamlessly and showing it in a new way. The big reveal is always at the end, the quality depend on the unexpectedness of the discovery, the twist.
indefinite range of things, if not everything.

The Lyrical Story puts the emphasis on a central recurring image or symbol that the narrative revolves around, rather than focusing on the plot. The ending is considered to be ‘open’ as the focus doesn’t insist on one meaning but is open to many depending on the readers’ perspective. This form needs an external plot (often of the epical form) which flows alongside the development of the image. The central focus fills in where an expression is wanted but didn’t show up. There is a need to express what the protagonist won’t or can’t, to cry, or express joy, or grief.
The Artifice Story is the weaving together of two apparently non-compatible things. This can be two story lines, realities or perspectives. This can be used as an over-arching metaphoric device or it can be an abruptly introduced incongruity. This is inserted into the otherwise conventional narrative at the beginning, the larger meaning comes directly from the unexpected symbiosis between the deliberately inserted incongruity and the conventional plot.

Until next month, stay well, stay happy.

You can also find me at http://www.nancymbell.ca

Thursday, May 14, 2020

Short Stories and Contests by Nancy M Bell



Second book in the Longview Romance series. Calgary Stampede is canceled this year, so why not take a visit in the pages of Come Hell or High Water? Click on the cover to find out more about my books and where to get your copy of Come Hell or High Water.

I thought I'd share a workshop I did for the Airdrie Public Library on short stories and how to get them ready to enter a contest.

Short Stories and Contests

What is a short story?
A short story is usually narrative prose. It typically focuses on a single self-contained incident and includes a small cast of named characters. The short story makes use of plot and other components used in the longer novel, just to a lesser degree.

Types of short stories are determined by word count or topic. For the purpose of short story contests there is usually a minimum and maximum word count which needs to be strictly adhered to.
Short Story Lengths in words:
Traditional: 1,500 to 5,000
Flash Fiction: 500 to 1,000
Micro Fiction: 5-350
It is most common to sell a story that is 1,500 to 3,000 words long.

Short Story Contests.
Should you enter? YES! Of course, you should. Even if you don’t win or get short listed, often you will receive valuable feedback from the judges.
How to decide which contests to enter? First decide what market you are writing for. Fiction or Nonfiction. Then look at what is open for submission and what is coming open in the future. Read the guidelines carefully, paying close attention to the rules and guidelines. Generally, these will include topics or focus of the contest, minimum and maximum length of the entry, entry deadline and method of delivering the entry. Generally, this is by electronic means these days including the use of the Submittable website, although some still ask for hard copy entries. Also pay attention to the entry fee asked for and decide if the cost is within your budget and if you feel it is worth the cost of entry. There is a list of 2020 short story contests online, the Writers Guild of Alberta also lists contests in their newsletter.

Crafting the Short Story.
Now, you need a plan. Again, this is going to be different for everyone. There are two basic ways of going about The Plan. This is what is referred to in author speak as Plotting or Pantsing.
There is no right or wrong way, just what works best for you. What is Plotting and Pantsing?
Plotting is just what is sounds like. The author plots out their story using what ever method works best for them. The plot plan will include, in some form, the following elements:
The Beginning of the Story/The Exposition
Rising Action
Climax or Turning Point
Falling Action
The End of the Story/The Resolution

So, now to start:
Generate the core idea. Ideas are all around us, you just need to learn to recognize them. This often starts from a memory, a fear, a problem, or an incident that resonates with you, stays with you and keeps nudging you to share it.

Write it down. Get it out of your head and onto paper. Rough first drafts are always just that rough. Write everything and anything that comes to mind, don’t worry about word count at this point.
Create the characters from people you know, or sometimes the characters just present themselves to you. Go with whatever feels natural to you. If you’re having trouble, it is easiest to base your character on people you are familiar with and grow them from there.
Trust yourself, believe in yourself. We are all writers and creators.

Now you have the basis, you need to add some structure and start to put things together.
Basic story structure is outlined below:
The Opening
Incident that changes things, sets things in motion
Series of crisis or events that builds tension
The Climax
The End

There are various examples of story structure: The Hero Journey, The Three Act Structure, The 7 Point Story Structure. You can look at these online if you want to delve deeper into them.
The structure should assist you in sorting out your conflict, climax and resolution.
In short: The Hero Journey
Call to Adventure
Challenges and Temptations
Revelation- death/rebirth
Transformation/Atonement
Return

In short: The Three Act Structure
Set Up- establish characters and setting
The Confrontation- appears simple with underlying complexity
The Resolution- a good ending contains high stakes, growth and transformation and a solution

In short: The Seven Point Story Structure
Hook the starting point
Plot Turn 1 conflict that moves the story to the midpoint
Pinch Point 1 pressure on the your protagonist- stumbling blocks in the pursuit of the goal
Mid-Point character responds to conflict with action
Pinch Point 2 more pressure and stumbling blocks between protagonist and the goal
Plot Turn 2 moves story from midpoint to resolution
Resolution where everything up to this point has been heading. Goal achieved and loose ends tied up.


Some other forms of Short Stories.
Anecdote: This is a short account that tells a story about a real person or actual incident. It can be amusing or interesting or both depending on the subject. Anecdotes are often used to support a point in larger work, for example an essay or article.

Drabble: This is a very short work of fiction, generally exactly 100 words not counting the title. This form is used to demonstrate a writer’s ability to express something meaningful in a confined number of words. It is an exercise in brevity.

Fable: This form uses anthropomorphic creatures to illustrate a story with a mora. These may include animals, plants, inanimate object, forces of nature etc) Burgess Thonton’s work in the early 20th century is a prime example, as well as Asesop’s Fables. The moral is usually spelled out for the reader at the end of the story.

Flash Fiction: This is short literary work. No widely accepted word count but usually between 300 and 1,000 words. Generally I have seen then around 500 words in contest rules. Pay close attention to the guidelines of the contests you wish to enter.

Frame Piece: this is not generally used now but has been used in the past. In Walter Farley’s the Blood Bay Colt one of the characters is bed-ridden and reads a book whose contents are shared within the context of the larger story.
It is also useful for introducing the main narrative or setting the reader up for a series of short stories that follow. Flashbacks- the dreaded and should be seldom used flashback- is also an example of this form.

Mini-Saga is a short story of exactly 50 words. A good exercise to learn to remove all but the most pertinent parts of the story or scene.

Story Sequence: this isn’t a novel, but rather a series of short stories within an over all timeframe that together tell a larger story while still remained complete stories in their own right. This is sometimes referred to as a composite novel.

Vignette: this focuses on a single character, setting or scene. No emphasis on conventional structure or story development. Can be stand alone or part of a bigger work.

We can go deeper here and look at three distinct types of short stories. The Epical Story, The Lyrical Story and The Artifice Story.

The Epical Story: realist short fiction. Commonly withholding a part of the narrative. Generally, the best of this type are the ones where in spite of the obvious clues within the narrative, the reveal of the missing part is unexpected from the reader’s POV. The revelation must serve to highlight what came before it, shining light onto what was just latent beforehand and locking with it seamlessly and showing it in a new way. The big reveal is always at the end, the quality depend on the unexpectedness of the discovery, the twist.
indefinite range of things, if not everything.

The Lyrical Story puts the emphasis on a central recurring image or symbol that the narrative revolves around, rather than focusing on the plot. The ending is considered to be ‘open’ as the focus doesn’t insist on one meaning but is open to many depending on the readers’ perspective. This form needs an external plot (often of the epical form) which flows alongside the development of the image. The central focus fills in where an expression is wanted but didn’t show up. There is a need to express what the protagonist won’t or can’t, to cry, or express joy, or grief.
The Artifice Story is the weaving together of two apparently non-compatible things. This can be two story lines, realities or perspectives. This can be used as an over-arching metaphoric device or it can be an abruptly introduced incongruity. This is inserted into the otherwise conventional narrative at the beginning, the larger meaning comes directly from the unexpected symbiosis between the deliberately inserted incongruity and the conventional plot.

Until next month Stay well, stay happy. YOu can also find me at http://www.nancymbell.ca

Tuesday, April 17, 2018

Oh, The Changes I've Seen - Janet Lane Walters #MFRWauthor #BooksWeLoveLTD #writing #Publishing #Novels #Shortstories


Murder and Mint Tea (Mrs. Miller Mysteries Book 1) Bast's Warrior (An Alternate Egypt Book 1) The Leo-Aquarius Connection (Opposites in Love Book 5)

Oh, The Changes I’ve Seen

 

When I was first published in 1968, publishing was a thriving business. The thriving remains the same but the changes astound me. I didn’t realize how many there were until I began to look at this. Now I was seriously writing long before I was published. I spent several years studying the short story before I put down much more than ideas. I’d been a reader all my life and writing seemed to be the next extension. I’ve seen many changes in the publishing of fiction. I no longer write short stories, though I do some novellas. Most of my writing is in genre fiction. So settle back and let’s look at some of the changes I’ve seen.

The Writing

Not only has my writing changed but so has that of other writers. When I began this adventure, I realized I was a minimalist. But more on that later. Here are some of the things I’ve noticed.

 

Books became shorter. When I first began with a novel most books ran at least 80,000 to 120,000 words. For a time that prevailed and those lengthy descriptions of people, places and things went on for paragraphs and sometimes pages. Now we try to make a few words do the work of many.

The passive voice wasn’t frowned on. When I look at my first short stories and saw the amount a passive voice, I wanted to go back and rewrite them. Now the active voice is the way to go and we’re not telling stories, we’re showing them.

Now the next big change I’ve noticed is with dialogue tags. “said she,” used to be the way dialogue was tagged. Asked John. Rather that she said or Jon asked. Then there was this tag. “said she while she walked across the room to close the window and cut the draft.” We now shorten these kind of phrases and clauses a lot.

 

Content

 In the past 50 years, the content of stories has changed, especially in the romance field where most of my books are set.

In 1972 when my first romance novel sold, there were romances out there but the content has changed with time. Romance was often entwined with a mystery or an inspirational message. Books we might have considered romances today were more in the main stream manner. Nurse-doctor romances were there and that’s where I began. Being a nurse gave me an insight into the medical world. There were many differences from the romances written today.

The internal conflict was more important than the romance. Body parts were avoided, except for lips and mouth. Romance seemed to focus from the neck up. Anything else was taboo. One of my published romances out in 1983 had all mention to breasts removed. But times were changing. Sex was perhaps hinted at but the couple seldom reached the bedroom door. The proposal and the kiss came near the end of the book. There was usually a triangle with either the nasty sexy female opponent or the heroine having to choose between two men who were either both great guys or ones not so great. Macho men came a bit later.

There are probably other trophes out there but most of the romances were sweet.

 

Publishers

When I published my first short story, there were many magazines for short stories. I’m sure I sent the first one I wrote to about twenty  or more magazines before someone bought the rights to publish. Then magazines began to disappear. Some were large magazines like The Saturday Evening Post and others were smaller. I even sold two stories to magazines that ended publication before the stories saw print. I was able to keep the money they paid. I used to buy The Writer’s Handbook every year for the listing on publishers. 1983 is the last one I remember buying, probably because I went back to work as a nurse for a few years.

What I’m going to give you a summary of the markets for each kind of story and then the publishers for that year.

 

Short Story Markets 1983

Science Fiction and Fantasy 13 magazines

Detective and Mystery 10 magazines

Romance and Confession 9 magazines

Fiction there were 6 pages of listings

Children 34 magazines

YA there were three pages of listings

Book Publishers

Hardcover Publishers there were 10 pages of listings

Paperback Publishers 2 pages of listings

Romance Publishers 14 Publishers

 

There were also self published manuscripts that were mostly chap books of poetry.

And there were always Vanity publishers

 

Changes Continue

From the 1980s through the 1990s publishers consolidated and merged leaving fewer places for an author to sell books to a publisher without an agent. These mergers are still happening.

Then came electronic publishing. I was early in publishing this way and the number of small publishers expanded and contracted daily. During those years, I sold well though at first the books arrived on floppy discs. Those were exciting and some unpleasant days. Being part of something new was fun. Having friends who were or were not published making snide and hurtful remarks wasn’t fun but I endured. I endured so well that many of my fellow romance authors who were the most vocal against me are now published electronically.

An ereader arrived and that boosted sales. Then Kindle and other devices that were slimmer and lighter came and selling ebooks became the thing.

Lately, audio books have taken off. Self-publishing is popular. Reading books on one’s phone is now a trend. Who knows what will come next and I hope I’m around to see the next great leap.

 

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