How to Write a Short Story: An Exposition of the Technique of Short Fiction by by Leslie Quirk, Foreword by Olivia Salter

How to Write a Short Story: An Exposition of the Technique of Short Fiction 

 

by Leslie Quirk

(1906)

 

Foreword by Olivia Salter

 

 Foreword

Writing a short story is akin to capturing a fleeting moment, imbuing it with life, and leaving an indelible impression on the reader's mind. It requires an exceptional skill set, a keen understanding of human emotions, and, above all, a precise technique that can make every word count. Few writers have truly mastered the art of the short story, but in Leslie Quirk's remarkable work, "How to Write a Short Story: An Exposition of the Technique of Short Fiction," we have an invaluable resource that unveils the secrets behind this captivating genre.

Leslie Quirk, a maestro of storytelling in her own right, delves deep into the intricacies of crafting a compelling short story. With a wealth of experience and a distinctive voice, she guides aspiring writers on a journey through the fundamental elements that shape a narrative. From concept to execution, Quirk explores every facet of storytelling, illustrating the interplay between plot, character development, setting, and theme.

One of the great challenges posed by the short story format is the ability to build a compelling narrative within a limited space. Quirk expertly navigates this constraint, revealing the importance of brevity and precision in crafting impactful scenes and memorable characters. She emphasizes the art of suggestion, urging writers to hone their descriptive abilities to create vivid and evocative imagery without overwhelming the reader with unnecessary details.

Moreover, Quirk's insights go beyond technical aspects as she delves into the emotional core of writing. She highlights the power of empathy, urging writers to connect with their characters on a profound level and to infuse their stories with genuine emotions, thus forging an authentic bond between the reader and the written word.

Throughout this exposition, Quirk provides not only valuable lessons but also practical exercises and examples that demonstrate the principles she elucidates. By immersing oneself in Quirk's teachings and engaging in the suggested exercises, aspiring writers are certain to develop their own unique storytelling voice and gain confidence in their ability to captivate readers with their short fiction.

"How to Write a Short Story" is more than just a guide; it is an invitation to explore the complexities and beauty of the human experience through the concise and potent medium of short fiction. Quirk emboldens writers to unleash their creativity, push the boundaries of their imagination, and bristle with curiosity and wonder. With her guidance, not only will writers acquire the necessary tools to master the short story form, but they will also tap into the endless possibilities that lie within each story waiting to be told.

I have no doubt that "How to Write a Short Story: An Exposition of the Technique of Short Fiction" will become an indispensable companion to anyone seeking to navigate the nuanced terrain of short storytelling. Leslie Quirk's profound understanding and expertise in this art form shine through these pages, serving as a beacon of inspiration for writers at every stage of their creative journey.

So, dear reader, immerse yourself in the insights and wisdom of Leslie Quirk. Unleash your creativity, hone your craft, and let your stories ignite the imaginations of readers around the world. May this exposition be the catalyst that propels you towards your own narrative triumphs.

Happy writing!

Olivia Salter

09/17/2023

 

Read "How to Write a Short Story: An Exposition of the Technique of Short Fiction" by Leslie Quirk

Writing the Short-Story: A PRACTICAL HANDBOOK ON THE RISE, STRUCTURE, WRITING AND SALE OF THE MODERN SHORT-STORY by J. Berg Esenwein (PDF)

 Writing the Short-Story: A PRACTICAL HANDBOOK ON THE RISE, STRUCTURE, WRITING AND SALE OF THE MODERN SHORT-STORY

 

by J. Berg Esenwein

Foreword  

To Teachers 

Historical Introduction 

I. THE RISE OP THE SHORT-STORY 

1.  Thg Story-Teller
2. The Epic 
3. The Ancient and Medieval Tale  
4. The Sacred Books of the East  
5. The Drama  
6. The Novel  
7. Other Literary Forms  
8. The Perfecters of the Short-Story  

II. ITS PRESENT PLACE AND POWER 

1. The Short-Story and the Novel  
2. Reasons for Popularity  
3. The Influence of the Short-Story 

PART I — THE NATURE OF THE SHORT-STORY 

Chapter I — What is a Short-Story

I. What a Short-Story is Not  

1.  Not a Condensed Novel  
2. Not an Episode  
3. Not a Scenario  
4. Not a Biography  
5. Not a Sketch  
6. Not a Tale  

II. What a Short-Story Is  

Exercises

Chapter II — Kinds op Short-Story

1. Based on Types of Humanity  
2. Based on the Moral Nature  
3. Based on Occupations  
4. Based on Locality  
5. Based on Wonder 
6. Based on Social Classes  
7. Based on Emotion in the Story  

Exercises  

PART II— THE STRUCTURE OF THE SHORT- STORY 

Chapter I — Choosing a Theme 

1.  Spontaneous Choice  
2. Seeking Out a Theme  
3. Themes Barred  

Exercises  

Chapter II Gathering the Materials 

1.  Observation  
2. Experience  
3. Self-Study  
4. Rejection  
5. Reading  
6. Discussion   
7. Taking Notes  

Exercises

Chapter III— Fact in Fiction 

 Types of Fiction  

(a) Realistic

(b) Romantic

(c) Idealistic

(d) Composite

 2. Use of Facts  

Exercises  

Chapter IV — Plot 

I. What is a Short-Story Plot  

1.  Kinds of Plot  
2. Surprise  
3. Problem  
4. Mystery   
5. Emotion  
6. Contrast   
7. Symbolism  

III. What Constitutes a Good Plot

1.  Simplicity  
2. Plausibility  
3. Originality  
4. Climax  
5. Interest  

Exercises  

Chapter V — Plot Development 

I. Sources of Plot  

1.  Characters  
2. Dramatic Incidents  
3. Impressionism  

II. Actual Plot Development  

Exercises  

Chapter VI — How Stories are Told 

1.  Third Person
2. First Person  
3. Letter Form  
4. Diary Form  
5. Composite Form  

Exercises  

Chapter VII. — The Opening of the Stokt 

I. The Best Usage  

1.  Opening with Dialogue  
2. Opening without Dialogue  

II. Bad Usage  

Exercises

Chapter VIII — The Setting op the Stoky 

I. Setting in General  

II. Description to Convey Setting

1.  By Suggestion  
2. By Epithet   
3. By Hint  
4. Direct  
5. By Effects  
6. Figures of Speech  
7. Point of View  
8. Seven Steps m Description

III. The Elements of Setting  

1.  Time
2. Place  
3. Occupations  
4. Conditions 
5. The Setting Entire  

Exercises  

Chapter IX — The Body of the Story 

 Incident  

 Emotion 

(a) Love Interest

(b) Pathos

(c) Mirth

(d) Emotion in the Story

(e) Emotion in the Author

Exercises  

Chapter X— The Body of the Stoy — Concluded 

1.  Crisis  
2. Suspense  
3. Climax  
4. Denouement  
5. Conclusion   

Exercises  

Chapter XI — Characters and Characterization 

I. The Characters  

1.  Selecting the Characters  
2. Number of Characters  
3. Classes of Characters  
4. Relations  
5. Author's Attitude  

II. Characterization  

1.  Effect to be Attained  
2. General Methods  
3. Specific Methods  

Exercises  

Chapter XII — Dialogue 

1.  Proportion  
2. Office   
3. Subject Matter 
4. Manner 

Exercises 

Chapter XIII— The Title 

1.  Functions 
2. Good Titles  
3. Titles to Avoid

Exercises   

Chapter XIV— Style 

General View  

Exercises 

Chapter XV — Some Special Characteristics of the Short*

1. Story  
2. Harmony of Tone  
3. Proportion  
4. Simplicity  
5. Compression  

Exercises  

PART III— PREPARATION FOR AUTHORSHIE 

Chapter I — What is Originality 

1.  The Test of Originality  
2. The Sources of Originality  

Exercises  

Chapter II — Talent and Training
Views of Eminent Writers  

Chapter III — Acquiring a Vocabulary

1.  Study of Short-Story Models  
2. The Dictionary Habit 
3. Synonyms and Antonyms  
4. Conversations on Words  
5. Translating Languages   
6. Study of Etymology  
7. Broad Usage  

Chapter IV — The Study of the Short- Story — A Laboratory Method 

Critical Estimates of the Author Studied  
"The Necklace," by Guy de Maupassant  

Exercises  

PART IV— THE MANUSCRIPT AND ITS MARKET 

Chapter I — Writing the Story

1.  The Management of Notes  
2. Revision  
3. Preparing the Manuscript  

Chapter II — Selling the Story 

1.  The Ordered Manuscript  
2. The Literary Agent  
3. Calling on the Editor  
4. Offering the Story by Mail  

Chapter III — Why Stories are Rejected — a Colloquy 


Appendix A — Collections of Short-Stories, Sketches, and Tales

Appendix B — One Hundred Representative Short-Stories

Appendix C — The Plots of Twenty Short-Stories  

Appendix D — Digest of Rhetorical Rules Appucable to

Short- Story Writing

Appendix E — Abbreviations of Publishers' Addresses  

Appendix F — Books for a Fiction- Writer's Library  ,

Appendix G — Bibuography

Appendix H — Supplementary Reading Lists, Added in  

General Index  



Writing the Short-Story: A PRACTICAL HANDBOOK ON THE RISE, STRUCTURE, WRITING AND SALE OF THE MODERN SHORT-STORY by J. Berg Esenwein



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Writing Books Index

Stephen King on the Craft of Short Story Writing (Video)

Stephen King on the Craft of Short Story Writing

 

 

5 Key Moments in This Video

 

From
00:03
The art of the short story
From
01:14
The novel is a quagmire for young writers
From
02:21
Short stories are a sliver of a novel
From
02:38
Short stories can balloon into novels
From
03:02
Three stories in Just After Sunset that are novel-length

Six Fiction Elements of Writing a Short Story

 

Six Fiction Elements of Writing a Short Story

 

What Is a Short Story?

A short story is a work of short, narrative prose that is usually centered around one single event. It is limited in scope and has an introduction, body, and conclusion. Although a short story has much in common with a novel, it is written with much greater precision. Any time you write a short story of fiction or an essay on short fiction, the following guide and questions may help you.

Once you examine these narrative elements, you want to look for PATTERNS, or MOTIFS, in the work.  Pay attention to words & images that are related

Setting

Setting is a description of where and when the story takes place. In a short story there are fewer settings compared to a novel. The time is more limited. Ask yourself the following questions:

• How is the setting created? Consider geography, weather, time of day, social conditions, etc.
• What role does setting play in the story? Is it an important part of the plot or theme? Or is it just a backdrop against which the action takes place?
• Does the setting change? If so, how?

Study the time period, which is also part of the setting, and ask yourself the following:

• Who is the story written for?
• Does it take place in the present, the past, or the future?
• How does the time period affect the language, atmosphere or social circumstances of the short story?

Characterization

Characterization deals with how the characters in the story are described. In short stories there are usually fewer characters compared to a novel. They usually focus on one central character or protagonist. Ask yourself the following:

• Who is the main character?
• Who or what is the antagonist?
• Are the main character and other characters described through dialogue – by the way they speak (dialect or slang for instance)?
• Has the you described the characters by physical appearance, thoughts and feelings, and interaction (the way they act towards others)?
• Are they static characters who do not change?
• Are they dynamic characters who change?
• What type of characters are they? What qualities stand out? Are they stereotypes?
• Are the characters believable?
• Do the characters symbolize something?

Plot and Structure

The plot is the main sequence of events that make up the story. In short stories the plot is usually centered around one experience or significant moment. Consider the following questions:

• What is the most important event?
• How will the plot be structured? Is it linear, chronological or does it move around?
• Is the plot believable?

CONFLICT:  Conflict or tension is usually the heart of the short story and is related to the main character. In a short story there is usually one main struggle.

• How would you describe the main conflict?
• Is it an internal conflict within the character?
• Is it an external conflict caused by the surroundings or environment the main character finds himself/herself in?

CLIMAX:  The climax is the point of greatest tension or intensity in the short story. It can also be the point where events take a major turn as the story races towards its conclusion.

• When does the climax take place?

RESOLUTION:  The resolution is the end of the story. It focuses on how the conflict is ultimately resolved.

• Are the closing sentences significant? How does the end relate or connect to the opening?

Narrator and Point of View

The narrator is the person telling the story.  Consider this question: Are the narrator and the main character the same?

By point of view we mean from whose eyes the story is being told. Short stories tend to be told through one character’s point of view. The following are important questions to consider:

• Who is the narrator or speaker in the story?
• Does the author speak through the main character?
• Is the story written in the first person “I” point of view?
• Is the story written in a detached third person “he/she” point of view?
• Is there an “all-knowing” third person who can reveal what all the characters are thinking and doing at all times and in all places?
• Is the narrator trustworthy?

Style

The author’s style has to do with the his or her vocabulary, use of imagery, tone, or the feeling of the story. It has to do with the author’s attitude toward the subject. In some short stories the tone can be ironic, humorous, cold, or dramatic.

• Is the language full of figurative language: metaphors, symbols, personification, etc.?
• What images are used?
• What is the tone or mood of the story?

Theme

The theme is built on a topic, such as death, hope, the American dream, etc. and how the topic affects the human condition, society, or life.  As a reader, focus on what the story is revealing about the topic.  The theme should be expressed as a statement, a general observination about human nature.

To help you write a thematic statement for your short story, consider the following:

• What is the story about – its general topic(s) (IE:  money, wealth, death, etc.)?
• How is the topic developed? (Consider how characters change, symbols, climax, etc.)
• Do you notice any patterns in imagery, diction, etc.?
• Does the title have any significance?
• Does the narrator or character include any statement(s) that reveals a theme or observation?

What a theme is NOT:

• a word or phrase (topic or subject)
• a command
• a judgment

To help you construct the thematic statement, make a list of important images, topics, etc. found in the text.  Try to create a statement that includes the words in your list.

Also see:

• Story Elements: 7 Main Elements of a Story and 5 Elements of Plot
  

FREE COURSE: How To Show And Not Tell In Short Stories by Mia Botha

FREE COURSE: How To Show And Not Tell In Short Stories

 

by Mia Botha

 

Take Writers Write free writing course and learn how to show and not tell in short stories.

What the course includes:

1. The difference between ‘showing’ and ‘telling’. (Lesson 1)
2. How to ‘show’. We will discuss the 7 techniques we use to ‘show’. (Lesson 2-8)
3. When to ‘tell’. In the last lesson, we will discuss when you should ‘tell’. (Lesson 9)

We know that by showing and not telling, you will develop better ideas for your novels, memoirs, or short stories.