I’m coming off a summer of insane productivity. For me.
And although I’ve done some work on two of my novel-length projects, the name of the game has been short stories.
Five of them in the 4-6k range, all speculative fiction. Two were written before the summer, and I’ve been revising and soliciting feedback on them. The other three were drafted this summer. One was accepted by an anthology. The remaining two I hope to have submission-ready by next month. Fingers crossed.
I’ve started to workshop the pieces with like-minded members of my local meetup writing group – a breakout group of those who were actively pursuing publication and were already at a certain level with their craft. This group of ladies has provided some hugely helpful feedback (even though we all write very different things).
Something that has been consistent in their comments is that each short story could be so much more. Sometimes that means I have to flesh out the world or the story a bit more. But most of the time it means they think I should be writing a novel instead of a short story. That my short stories are novels in disguise.
What’s a girl to do? Well, I’m not opposed to writing novels, obviously. In fact, my “natural length” is probably more novel than short story (and writer Juliette Wade has a great post on this: Natural Length and the Fractal Nature of Stories). The problem is I’ve got two speculative fiction projects already queued up. So converting any of the stories in this current batch into a longer work won’t be happening any time soon.
Then there’s the advice that writing short can be a great way to jumpstart your career (see Lydia Sharp’s post The Benefits of Writing Short and The Long on the Short post from Magical Words). And that’s what I was trying to do with these stories that I’ve turned out this year.
So, as I revise, I’m working hard to do the following:
1) Streamline story elements as much as possible without compromising my view of the story world
This may mean simplifying plot points or removing certain features of the world – especially if they open up a whole host of questions that my story doesn’t address. I often add in aspects that I think flesh out the worlds in a shorthand way, but oftentimes these are the same things my writing group calls me out on. As Juliette Wade points out in Worldbuilding for Short Stories: “in a short story, you have very little room to explain or explore. Everything you do has to be done in as few words as possible.” So Poe’s assertion that every element of a short story should work in concert to achieve a unity of effect is something I need to keep in mind.
2) Find ways to develop character without developing character
Calm down. I’m not advocating one-dimensional characters. But in SF/F stories, where worldbuilding and story action demand a not insignificant portion of the story, that doesn’t leave you with a whole lot of room to devote to your characters. This is where voice is so important – and it’s no surprise that all the short stories I’m working on are written in first person. I vowed at the beginning of the year to write in first person to help me really sink into my characters and that’s proven doubly helpful in terms of developing character without slowing the story action down.
3) Analyze all the themes/issues/plot points and decide if they are best served by the short story form
This is always tough. I have to decide if I can fit everything into one story. Or, if I remove some elements, will the story be stronger? If not, maybe I should just save it for a novel. I fear this is already the case with one of my short stories, but I will give it the old college try at keeping it short. Besides, more than other genres, lots of SF novels started out as short stories, and I’m just following the trend…
Have you ever been told you have a novel masquerading as short story? Did you end up paring your story down? Or did you turn it into a novel? Happy writing!