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How to Write a Short Story: 5 Major Steps from Start to Finish

by Sarah Gribble | 81 comments

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Do you want to learn how to write a short story ? Maybe you'd like to try writing a short story instead of a novel-length work, or maybe you're hoping to get more writing practice without the lengthy time commitment that a novel requires.

The reality of writing stories? Not every short story writer wants to write a novel, but every novelist can benefit from writing short stories. However, short stories and novels are different—so naturally, how you write them has its differences, too.

Short stories are often a fiction writer’s first introduction to writing, but they can be frustrating to write and difficult to master. How do you fit everything that makes a great story into something so short?

And then, once you do finish a short story you’re proud of, what do you do with it?

That's what we'll cover in this article, along with additional resources I'll link to that will help you get started step-by-step with shorts.

Short Stories Made Me a Better Writer

I fell into writing short stories when I first started writing.

I'd written a book , and it was terrible. But it opened up my mind and I kept having all these story ideas I just had to get out.

Before long, I had dozens of stories and within about two years, I had around three dozen of them published traditionally. That first book went nowhere, by the way. But my short stories surely did.

And I learned a whole lot about the writing craft because I spent so much time practicing writing with my short stories. This is why, whether you want to make money as a short story writer or experiment writing them, I think writing short stories is important for every writer who wants to become a novelist.

But how do you write a short story? And what do you do afterwards? I hope that by sharing my personal experiences and suggestions, I can help you write your own short stories with confidence.

Why Should You Write Short Stories?

I get a lot of pushback when I suggest new writers should write short stories.

Everyone wants to write a book. (Okay, maybe not everyone, but if you ask a hundred people if they’d like to write one, I’d bet seventy-something of them would say yes.) Anthologies and short story collections don’t make a ton of money because no one really wants to read them. So why waste time writing short stories when books are what people read ?

There are three main reasons you should be a short story writer:

1. Training

Short stories help you hone your writing skills .

Short stories are often only one scene and about one character. That’s a level of focus you can’t have in a novel. Writing short stories forces you to focus on writing clearly and concisely while still making a scene entertaining.

You’re working with the basic level of structure here (a scene) and learning to perfect it .

Short stories are a place to experiment with your creative process, to play with character development techniques, to dabble in different kinds of writing styles. 

And you're learning what a finished story feels like. So many aspiring novelists have only half-done drafts in drawers. A short is training yourself to finish.

2. Building contacts and readers

Most writers I know do not want to hear this, but this whole writing thing is the same as any other industry: if you want to make it, you better network.

When my first book, Surviving Death , was released, I had hundreds of people on my launch team. How? I’d had about three dozen short stories published traditionally by that time. I’d gathered a readership base, and not only that, I’d become acquainted with some fellow writers in my genre along the way. And those people were more than willing to help me get the word out about my book.

You want loyal readers and you want friends in the industry. And the way to get those is to continuously be writing.

Writing is like working out. If you take a ton of time off, you’re going to hurt when you get back into it.

It’s a little difficult to be working on a novel all the time. Most writers have one or two in them a year, and those aren’t written without a bit of a break in between.

Short story writing helps you keep up your writing habit , or develop one, and they make for a nice break in between larger projects.

I always write short stories between novels, and even between drafts of my novels. It keeps me going and puts use to all the random story ideas I had while working on the larger project. I've found over the years that keeping up the writing habit is the only way to actually keep yourself in “writer mode.”

All the cool kids are doing it. Stephen King, Neil Gaiman, Edgar Allan Poe, Kurt Vonnegut, Margaret Atwood . . . Google your favorite writers and they probably have a short story collection or two out there. Most successful authors have cut their teeth on short stories.

What is a Short Story?

Now that you know why you should be writing short stories, let’s talk about what a short story is. This might seem obvious, but it’s a question I’ve gotten a lot. A short story is short, right? Essentially, yes. But how short is short?

You can Google how long a short story is and get a bunch of different answers. There are a lot of different editors out there running a lot of different anthologies, magazines, ezines, podcasts, you name it. They all have slightly different definitions of what a short story is because they all have slightly different needs when it comes to providing content on their platform and meeting the expectations of their audiences.

A podcast, for instance, often wants a story to take up about thirty minutes of airtime. They know how long it takes their producers to read a story, so that thirty minutes means they’re looking for a very specific word count. An ezine might aim for a certain estimated reading time. A magazine or anthology might have a certain number of pages they’re trying to fill.

Everyone has a different definition of how short a short story is, so for the purpose of this series, I’m going to be broad in my definition of a short story.

What qualifies as a short story?

A short story word count normally falls somewhere between 1,000 words and 10,000 words. If you’re over ten thousand, you’re running into novelette territory, though some publications consider up to 20,000 words to be a short story. If you’re under a thousand words, you’re looking at flash fiction.

The sweet spot is between 2,000 and 5,000 words. The majority of short stories I’ve had published were between 2,500 words and 3,500 words.

That’s not a lot of words, and you’ve got a lot to fit in—backstory, world-building, a character arc—in that tiny amount of space. (A book, by the way, is normally 60,000 to 90,000 words or longer. Big difference.)

A short story is one to three scenes. That’s it. Think of it as a “slice of life,” as in someone peeked into your life for maybe an hour or two and this is what they saw.

You’re not going to flesh out every detail about your characters. (I normally don’t even know the last names of my short story characters, and it doesn’t matter.) You’re not trying to build a Tolkien-level world. You don’t need to worry about subplots.

To focus your writing, think of a short story as a short series of events happening to a single character. The rest of the cast of characters should be small.

How to Write a Short Story: The Short Version

Throughout this blog series, I’ll take a deep dive into the process of writing short stories. If you’re looking for the fast answer, here it is:

• Write the story in one sitting.
• Take a break.
• Edit with a mind for brevity.
• Get feedback and do a final edit.

Write the story in one sitting

For the most part, short stories are meant to be read in one sitting, so it makes sense that you should write them in one sitting.

Obviously, if you’re in the 10K range, that’s probably going to take more than one writing session, but a 2,500-word short story can easily be written in one sitting. This might seem a little daunting, but you’ll find your enthusiasm will drive you to the ending and your story will flow better for it.

You’re not aiming for prize-winning writing during this stage. You’re aiming to get the basic story out of your head and on paper.

Forget about grammar . Forget about beautiful prose. Forget about even making a ton of sense.

You’re not worrying about word count at this stage, either. Don’t research and don’t pause over trying to find the exact right word. Don't agonize over the perfect story title.

Just get the basic story out. You can’t edit a blank page.

Take a break

Don’t immediately begin the editing process. After you’ve written anything, books included, you need to take a step back . Your brain needs to shift from “writer mode” to “reader mode.” With a short story, I normally recommend a three-day break.

If you have research to do, this is the time to do it, though I highly recommend not thinking about your story at all.

The further away you can get from it, the better you’ll edit.

Edit with a mind for brevity

Now that you’ve had a break, you’re ready to come back with a vengeance. This is the part where you “kill your darlings” and have absolutely no mercy for the story you produced less than a week ago. The second draft is where you get critical.

Remember we’re writing a short story here, not a novel. You don’t have time to go into each and every detail about your characters’ lives. You don’t have time for B-plots, a ton of characters, or Stephen King-level droning on.

Short stories should have a beginning, a middle, and an end, though. They’re short, but they’re still stories.

As you edit , ask yourself if each bit of backstory, world building, and anything else is something your reader needs to know. If they do, do they need to know it right at that moment? If they don’t, cut it.

Get feedback

If this is your first time letting other people see your writing, this can be a scary step. No one wants to be given criticism. But getting feedback is the most important step in the writing process next to writing.

The more eyes you can get on a piece of writing, the better.

I highly recommend getting feedback from someone who knows about writing, not your mother or your best friend. People we love are great, but they love you and won’t give you honest feedback. If you want praise, go to them. If you want to grow as a writer, join a writing community and get feedback from other writers.

When you’ve gotten some feedback from a handful of people, make any changes you deem necessary and do a final edit for smaller issues like grammar and punctuation.

Here at The Write Practice, we’re huge fans of publishing your work . In fact, we don’t quite consider a story finished until it’s published.

Whether you’re going the traditional route and submitting your short story to anthologies and magazines, or you’re more into self- publishing , don’t let your story languish on your computer. Get it out into the world so you can build your reader base.

And it’s pretty cool getting to say you’re a published author.

That’s the short version of how to go about writing short stories. Throughout this series, I’ll be taking a more in-depth look at different elements of these steps. Stick with me throughout the series, and you’ll have a short story of your own ready to publish by the end.

A Preview of My How to Write a Short Story Series

My goal in this blog series is to walk you through the process of writing a short story from start to finish and then point you in the right direction for getting that story published.

By the end of this series, you’ll have a story ready to submit to publishers and a plan for how to submit.

Below is a list of topics I’ll be covering during this blog series. Keep coming back as these topics are updated over the coming months.

How to Come up With Ideas For Short Stories

Creative writing is like a muscle: use it or lose it. Coming up with ideas is part of the development of that muscle. In this post , I’ll go over how to train your mind to put out ideas consistently.

How to Plan a Short Story (Without Really Planning It)

Short stories often don’t require extensive planning. They’re short, after all. But a little bit of outlining can help. Don’t worry, I’m mostly a pantser! I promise this won’t be an intense method of planning. It will, however, give you a start with the elements of story structure—and motivation to get you to finish (and publish) your story. Read this article to see how a little planning can go a long way toward writing a successful story.

What You Need in a Short Story/Elements of a Short Story

One of the biggest mistakes I see from new writers is their short stories aren’t actually stories. They're often missing a climax, don't have an ending, or just ramble on in a stream-of-consciousness way without any story structure. In this article , I’ll show you what you need to make sure your short is a complete story.

Writing Strategies for Short Stories

The writing process varies from person to person, and often from project to project. In this blog , I’ll talk about different writing strategies you can use to write short stories.

How to Edit a Short Story

Editing is my least favorite part of writing. It’s overwhelming and often tedious. I’ll talk about short story editing strategies to take the confusion out of the process, and ensure you can edit with confidence.Learn how to confidently edit your story here .

Writing a Better Short Story

Short stories are their own art form, mainly because of the small word count. In this post, I’ll discuss ways to write a better short, including fitting everything you want and need into that tiny word count.

Weaving backstory and worldbuilding into your story without overdoing it. Remember, you don't need every detail about the world or a character's life in a short story—but the setting shouldn't be ignored. How your protagonist interacts with it should be significant and interesting.

How to Submit a Short Story to Publications

There are plenty of literary magazines, ezines, anthologies, etc. out there that accept short stories for publication (and you can self-publish your stories, too). In this article, I’ll demystify the submission process so you can submit your own stories to publications and start getting your work out there. You'll see your work in a short story anthology soon after using the tips in this article !

Professionalism in the Writing Industry

Emotions can run high when you put your work out there for others to see. In this article, I’ll talk about what’s expected of you in this profession and how to maintain professionalism so that you don't shoot yourself in the foot when you approach publishers, editors, and agents.

Write, Write, Write!

As you follow this series, I challenge you to begin writing at least one short story a week. I'll be giving you in-depth tips on creating a compelling story as we go along, but for now, I want you to write. That habit is the hardest thing to start and the hardest thing to keep up.

You may not use all the stories you're going to write over the next months. You may hate them and never want them to see the light of day. But you can't get better if you don't practice. Start practicing now.

As Ray Bradbury says:

“Write a short story every week. It's not possible to write 52 bad short stories in a row.”

When it comes to writing short stories, what do you find most challenging? Let me know in the comments .

For today’s practice, let’s just take on Step #1 (and begin tackling the challenge I laid down a moment ago): Write the basic story idea, the gist of the premise, as you’d tell it to a friend. Don’t think about it too much, and don’t worry about going into detail. Just write.

Write for fifteen minutes .

When your time is up, share your practice in the Pro Practice Workshop. And after you post, please be sure to give feedback to your fellow writers.

Happy writing!

Sarah Gribble

Sarah Gribble is the author of dozens of short stories that explore uncomfortable situations, basic fears, and the general awe and fascination of the unknown. She just released Surviving Death , her first novel, and is currently working on her next book.

Follow her on Instagram or join her email list for free scares.

Work with Sarah Gribble?

Bestselling author with over five years of coaching experience. Sarah Gribble specializes in working with Dark Fantasy, Fantasy, Horror, Speculative Fiction, and Thriller books. Sound like a good fit for you?

81 Comments

! ! ! JACKPOT ! ! !

I mean it! Finally, after months and months of reading literally hundreds of blog posts and comments, I find that you have addressed the writing of short stories in a manner that is direct, practical, and clear.

It is not my intention to write TGAN. It never was.

I hope, rather, to entertain with short stories drawn from the experiences of my living. This post has illuminated a clear path through the (often valuable, genuinely valid, but – for me, anyway – not-directly-relevant) facts, experiences and anecdotes of other writers and would-be practitioners of the art that all seem focused on novel-length work.

I would encourage you to entertain the possibility of more posts on the art form and production of short stories.

Wow, Bob. That’s so good to hear.

Speaking of short story articles, have you read my book Let’s Write a Short Story? You might enjoy it! Check out letswriteashortstory.com.

The picture on how to write a short story is pretty much how I wrote my first one and have started my second. I had my first one critiqued, then revised it to the critters suggestions (they made perfect sense) and my story has improved considerably. I thought I was being lame on how I came to write them, but I see now, I accidentally stumbled on the formula for writing. Thanks Joe. I’m writing easier now.

Love that, Susan. Like Neil said, there is no formula. You have to write the story the way it wants to be written. But I find that I need structure to keep myself motivated and moving, so this process usually helps me stay focused. Glad you’re finding the writing process easier!

This is such a great post, Joe! I used to be primarily a short story writer but have been working on a novel for so long I feel as though I can’t remember how short stories work – but this brought it all back, and in a much better more clear cut manner than my old ways! I used to meander through a short story like a blind woman in the dark until I bumped into the ending – but I had a lot more time on my hands to do such meandering than I do now, so I’ll definitely give this technique a try!

I’ve done the same, Dana. However haltingly and messy my process has been, though, it usually follows this rough pattern I listed above. Has that been true for you as well?

I was always a “pantser” for stories, and would start with a concept or opening scene, and then feel my way through. It could take weeks to get a first draft. Then I’d edit. The first step of yours blew me away, the idea of writing a “story” without any pressure to make it great, to just get to the gist of it, is pretty brilliant. I often put so much pressure on myself to get it right on the page that it slows me down. I’m already at work (in my head) on part 1 of a story I’ve been meaning to rewrite, and I feel very confident about it thanks to your advice 🙂

There is nothing wrong with pantsing it! I would be labeled a “pantser” but as I tell every one, it only looks that way. Outlines form around character so quickly in my head, it seems to be unplanned, but that is not true. I always have an outline, I just don’t spend a lot of time on it. The important thing is to write to end before doing any re-writing!

I’ve never been a big fan of writing short stories. They’ve always seemed like “a good start on a novel-length story”.

But your outline for writing a short story has me rethinking that philosophy. I may just give it a try.

Thanks for a new idea on a Saturday morning!

DO IT! And let me know how it goes, Carrie. 🙂

Agreed! ….on a Saturday afternoon! Fabulous tips to try. Thanks, Joe.

Short stories are an important marketing tool for all writers. And so is flash fiction. Lee Goldberg, creator/head writer for Monk and several other TV mystery series, writes short stories and novels using the Monk character. I hate the TV show Monk, but loved the short story Mr. Monk and The Seventeen Steps in the Dec 2010 Ellery Queen Mystery Magazine. I plan to read some of novels. Lee Goldberg is an excellent writer. The stories and novels support the TV series and the TV series supports the short stories and novel.

If you plan to traditionally publish, published short stories can get you a better agent and open door that may otherwise stay shut.

If you plan to self-publish, free short stories using your characters can be a good way to turn non-fans in customers for your wears. Think on them as test for readers–but don’t think it while you are writing the story.

I play to use this strategy to publish my Old West book series.

Wow, this is a very creepy story, Tom! You should work on it!

Reading this post made me reflect on my own writing routine. I tend to do steps 1-5 in one sitting, pumping out ~2,500-3,500 words in an hour, which is usually all I have for a short story. It’s the editing that definitely takes up the most time. I give it a day before going back and seeing how I can optimize the plot and the finer details.

The number one motivating factor for me to finish writing is my initial interest and excitement of the original idea for the story itself. A wasted story is such a shame, after all.

Impressive Patrick. I could do Steps 1-3 in one sitting, but breaking it into scenes, and especially the research, take me a lot of time.

Scrivener is a great tool for breaking it into workable chances. My second most favorite thing about it!

Agreed Cynthia! Have you seen my review of it? https://thewritepractice.com/scrivener

I had the exact same experience! I need to learn about the word count goals. My favorite feature is the ability to move scenes around and then read it as one long document without actually moving anything.

I am new at it, but look forward to learning more! Great review!

How to write short story? For me he only way is to order it on custom essay writing services reviews pa . To write something you need to be creative person, and it’s not about me 🙁

Love this post! Your first point, write the entire story, is great piece of advice. I say this all this time, “Write the story from beginning to end before doing any re-writing!”

Research being the #5 is great! I don’t find many other writer’s agreeing with on this. They will insist on doing the research upfront. I will see them a year later and ask how the project is going and the answer will be, “I’m still doing research.” I call it The Blackhole of Research and many writers get sucked it. I fell into it once myself when working on a play based on Shakespeare’s Sonnets. I got caught up it wanting to know if Shakespeare wrote the sonnets or not. I never wrote the play. The research thoroughly obscured what I believe would have been an interesting musical. For my series of novel set in the old west, I’m using a time line of events with scant details. I found I need this for the storytelling. But that is it.

I agree with you 100% about Scrivener. It has a bit of learning curve, but is worth it. I started to using it on my last story and now am using it to edit my novel. You can rearrange your scenes any way you want and then read is if it was a continuous document, but without changing the original order of scenes. Valuable in the editing process. It made me happy!

The Only Story They’ll Ever Read. This is excellent advice. It is where many talented writer’s fail.

How I Write Short Stories It takes me about 30 hours to do a draft of a story and then three times that to edit. If I have a real deadline (Not the self imposed kind) I can write it in 8 hours or less and edit it in 12.

I have learned that all I have to do is start writing and a story will emerge. Every time I do a writing prompt, I end up with a story. Every time I write for practice or to take a break from another project, I end up with a story. They are not always good.

Something unusual about me. I hate writing first drafts and love, love, love re-writing them.

How is that “unusual?” I know lots of people who enjoy rewriting over first drafts…? (There’s always someone who believes their “strange” in their habits. You must be from a small town or something lol

Once again, Joe, you cut through all the garbage that’s usually out there about writing to make the process simple. I especially like the idea of doing research after fleshing out the story. I was doing research before starting and I drove myself into a sticky mess. Thank you for pointing out the obvious – even though it wasn’t obvious to me.

I was alone, sitting next to a window on a commercial flight paid for by another who I was convinced cared little for my well being while offering an all expense paid year in a foreign land, no strings attached accept the one holding the sword of Damocles.

One thing I would add, and it’s the best practice I’ve picked up over the years, is to start with the ending. So for number #3, I would suggest come up with both the open and close and fill in the rest.

Thank you so much for this post. It finally got me started on a short story I have been wanting to write for more than a year. Writing down the basic story helped me see the story first.

Thank You… the guide is helpful. Our Lecturer gave an assignment she obliged that we must write a short story in our Journal but i think with your guide i’m going to make it great in the procedure of writing my short story…Thank Alot.

Thank you for this guide! My son is in eighth grade and assigned to write a short story in his honors English class. He’s very analytical and excelling in science and math. He does well in English but this short story has him flummoxed. He keeps saying he doesn’t know how to write a story, which is perplexing because throughout elementary school he wrote long, imaginative stories well above his grade level.

He desperately wants to write this short story but It’s as if his analytical mind has blocked access to his imagination and creativity. What served him well as a child has been squashed by puberty and the inevitable march to maturity. Oh, the sadness.

I just have a feeling though your guide will provide the structure he’s seeking and reopen the pathway to his creativity. It’s still there. We see it all the time. Your guide is organized around the process with time frames to boot! What more could an analytical mind want.

Thank you so much for this post. Sometimes the story gets lost while spending time researching. I always believed the story benefited from a little brewing time before taking on a life outside of my mind. I see now that I’ve been missing out on the valuable steps that can take place once the story is down and the transformation that can take place to form a short story. Your advice is elegant in it’s simplicity.

Great post, but I have one question though to the numer 5.

What am I supposed to research? Research for what? I just don’t understand this.

To me you research for different things. Location and setting of the storiy, maybe it in La Havana, Cuba you should know they speak Spanish, they were in a economy regression so the building are not painted. Maybe one character has some type of illness (PTSD, Lupus, etc.) You would have to know how would that influence how they act, are perceive or look in a story. If he has PTSD he may have flashback’s, or deprecion, ect.

Maybe is a historical fiction you need to know how people acted in that time, what they wore, what was happening, etc.

It give you a better understanding of what is happening. So what you write is believed or make senses.

Thanks for breaking this process down into simple steps! I naturally tend to sit down and spill out the whole story but often don’t know where to go from there. Your post gives me guidelines on how to approach the editing process that I know my work needs.

The best part is your distinction between “the story” and “the short story”. Knowing that makes it so much easier to write that first draft – without agonizing over a sloppy beginning or the overly vague details that require more research.

What a great way to get into your writing with the confidence that you’ll know how to make it better later!

Wow! You make it sound soo easy. Got a load of stories at different stages and feel I should try your steps.

Thanks, Mwai Gichimu http://www.creativeheritage.org

I didn’t realize until fairly recently that short stories were . . . well, so short. I typically write fanfiction that would be consider more of a novella at least 40,000 words. I actually don’t like reading short stories less than 7 chapters and/or 10,000 words. I don’t know I just like more meat on my books than the typical 7 chapter deal.

A Day in the Life of the Samurai.

It was an ordinary day — in the life of the samurai, that is. Samurai and heir to the Hagi residential, Kento Kadesheke, was engaged in a duel with his well recognized, self esteemed master.

“Dodge,” commanded his brain as he curled into a ball and escaped a fatal blow by what marked his people, the sword. Then he leapt up and swished his sword here and there, in defence. Next, he went all-out in a sword batting contest with his master. This gave his time to regain his breath. Now, as many know, the more experienced mostly comes on top, so was the case here. Tired and impatient, Kento tried to disarm his master and opponent. His master expected it and dodged it, not so long before launching a barrage of sword hits, disarming Kento.

Per the rules, disarms end battles, so Kento bowed and fetched his sword. He asked “What did I do wrong, milord,” His master smiled and gently said ” Nothing but thou were a bit impatient,” he added “I can see quick and great improvement,” Now all of this was said in Japanese, but I daren’t mention in imagined sesquipedalophobia

The importance of step six cannot be overstated. I think a second pair of eyes is essential for editing. For example, this non-sentence is from Joe’s promo for his book: http://letswriteashortstory.com/why-short-stories/ “Even more importantly, to practice deliberately have to put your writing skills to the test.” See what I mean?

“Run Isola!”

Isola’s mother yelled over the wind. Isola’s heart was pounding, and she felt as if she might faint. Her brown hair whipped fast, stinging her face. Her mother was rushing her into the safe house. They prepared it a month before when they heard about the Vortex Storm. The name was fitting because there was a big whirl of dark, ravenous clouds. They seemed to eat the whole sky.

“Where is Will and Dad?” Isola asked. “I thought they were coming with us!”

“I am going to get them,” Isola’s mother answered. “Just go and get there before you get hurt!”

She turned and went back to the house while Gloria went toward the safe house.

The wind was so strong, Isola felt as if it would lift her and pick her off her feet. Debris flew everywhere. Other people in her neighborhood were gathering belongings, children, pets, and driving away to the community safe house. Isola was tempted to follow them.

Isola finally made it to the safe house. Its interior was located underground and the door were made of steel. Underground Isola knew there were also steel bars to support the roof the steel ceiling. The lock on the door was located inside. Her father was a construction worker so getting the materials to build it was easy. Isola’s mind flashed back to the time her father stayed up for weeks at a time making sure everything was secure. When she asked if she could help or see what he was working on, he simply told her that it wasn’t time yet. Whatever that meant.

Isola began to open the door, when she heard familiar voices behind her.

“Isola! Watch out!”

Relief comforted her heart for a moment. It was Will’s voice, and he was okay. He’s head popped out around the corner. His brown curly hair waving on his face in the harsh wind. But, that relief was replaced with panic when she saw a big massive tree branch about to fall. On her.

Maybe it wasn’t a good idea to build a safe house by a tree Isola thought. Maybe it wasn’t a good idea to build a safe house, period.

That was all Isola had time to think about before the tree branch fell, and she was forced back by some invisible force. It felt like a hand grabbing her. She stumbled backwards and bumped into something.

Or someone.

“Isola, what are you crazy? You just stand there watching it fall on you, and do absolutely nothing while the branch almost crushes you!”

She turned around to the look to who was speaking to her. And a concerned, upset, face was peering down back at her. Her father. Despite her father scolding at her, she was relieved to see he was okay. Her mother came running in after them.

“Are you okay? What happened?” She turned to Isola’s father. “Mark.”

Mark put a hand on his wife’s arm. “Anna, she’s fine” He started toward the safe house again. “Let’s just hurry and all go inside-” Mark stopped.

“What? What is it?”

Isola followed to where he was staring. The tree branch was on top of the safe house. Blocking the only entrance inside.

Mark shook his head. Swore a few latin words. Anna shot daggers at him covering Will’s ears.

Will looked to me with eyes of confusion. I shrugged.

“Why are we going in here? Why don’t we go in with the other kids and adults?” Will asked.

Will spoke with an accent that his mom said came from his father. When he said ‘adults’ he pronounced it adoolts He pulled his mother’s hands off his ears.

“Will-” His father said will a warning tone in his voice.

“There is a branch on blocking the door. Besides, everybody else is going!” Will argued.

“They don’t want to go to the Community safe house, Will.” Isola told him.

“But, all my friends are there! I wanna go too!” Will whined.

“We have a safe house right here.” Anna said ignoring Will.

Isola made a motion to the safe house which was still stable, but had an impossible entrance. She opened her mouth to say something sarcastic but her mother must of saw the expression on her face because she held up her hand.

“That is enough Isola.” Her mother yelled over the wind. “You have been complaining about this the whole time, and show no appreciation for what your father is doing for you-”

“Dad what are you doing?” Will interrupted.

Gloria and her mom turned around to see what Will was talking about. Mark was pushing the branch-or at least trying to-off the entrance. Anna looked to Will and Isola.

“Come on, don’t just stand there, go help out your father!”

They didn’t need to be asked twice. They all went over and helped Mark push the branch. They pushed, pulled, lifted, but the branch didn’t move more than a couple of inches. But, even by then they were all tired and each second they stayed outside was each second to their death.

Mark reached through one of the openings of the branch and opened the door. “Will or Gloria, one of you can fit in here. Try to go through.”

Will crosses his arms. “No way! I want to go to the Community safe house. Besides you guys could lock us in there and go without us so you can go have fun.” Will stared at his mom and dad with accusing eyes. He had his jaw set in way that showed he wasn’t going to budge.

“Will” His father said angrily.

Isola started toward the entrance. “I’ll go, if you won’t go. Let’s just get in before we get hit by one of those meteorites.” She pointed to the sky. It was darker now blocking out so much sun, the light detectors triggered on the street lights for night time.

Isola started in, going feet first, having a little of a hard time getting in. When she felt her feet touch the ground she called up.

“Okay I’m in!”

There was no response. She looked up to see if anyone was looking in but she saw no one there.

“Mom? Dad?”

She heard something up there that sound like arguing, then panic, and then a moment of silence.

“Isola, are okay down there?” Her mom asked.

“Yeah, what are you guys waiting for?”

“We are going to the Community shelter.”

Isola didn’t know whether to laugh or scream.

“Isola, don’t worry you can wait down there-”

“Wait here? No!” Isola said shaking her head. “Bring me up with you guys.”

“The branch is stuck here, and plus we are running out of time, we are going to see if we can make it-”

Isola heard her father’s voice in the background. She only caught a few words and sentences like: ‘he said’ and ‘not good idea’ and ‘listen’

“I don’t care about what Jem thinks, we are leaving.” Isola heard her mom say.

And the door shut.

Isola heard screams outside. She heard some of Will’s screams, mixed with her mother’s, and other screams of children, frightened animals, and other people. She didn’t want to think about going out there. She knew she couldn’t. So, when the door shut Isola locked the door and went to the furthest corner of the room.

There were blankets, food, water, first aid items, and a radio there. The food and water was packed into four different black book bags. Looking at them made her feel anxious and worried. They’ll be okay. Everything is fine. She thought. When she still didn’t feel any better, she said out loud, “It’s okay. Everything is fine.” Even she knew the words sounded empty and unconvincing.

She wasn’t hungry at the moment. Fatigue washed over Isola so suddenly, that she felt dizzy. Grabbing her blanket from the corner she moved the rest of the items by the door. After, she walked to the corner, sat putting her knees up to her chin, and wrapped the blanket around herself, over her head and ears. She tried to huddle as far as she could into the corner. She wanted to be as far away from the screams as possible. Isola shivered. Though it wasn’t against the cold.

( For more or the rest of the story email me at [email protected] ) 🙂 Tell what you think.

This has been incrediably helpful! Making myself put off researching wasn’t something I would have thought would make a big difference but it really has.

I might be a bit late to the party…my 15 mins.

———- Hugh set the knife against his knee and started sawing through the skin.

As the pain coursed through his nerves, he lost his grip. “Damn bugs,” he hissed as his fingers failed to listen to his brain.

Laying his head against the cold metal of the bathtub, Hugh swore he could feel the lowjack implant in his spinal cord thrumming. A few moments later, the door opened on rusty hinges, allowing the light from the rest of the apartment in.

A falsetto voice spoke from the doorway. “Human, you have sustained an injury to your right knee. Medical personnel have been summoned.”

Hugh turned suddenly, knocking the knife to the floor. “Don’t you dare let those butchers in here!” Sitting up, he started to sob. “I’ve got nothing left for them to take.”

A six foot tall mechanical figure strode calmly into the room. “Human, I’m going to freeze you until the medical personnel arrive.” A green light started blinking in its eye socket. “Do not be alarmed, it is for your own safety.”

Hugh was half way out of the bathtub before the lowjack cut off any control he had over his body.

The android moved to the tub, and gingerly picked Hugh up, moving him through the spacious apartment to a chair by the front door.

“I will be in stasis until they arrive,” the android stated.

Hugh couldn’t detect any difference from a few moments ago. The android stood stone still, the only difference an irregular pattern to the blinking green light.

Waiting a full minute to ensure the thing wasn’t aware, Hugh tried moving his hand. The fingers twitched.

i have a short story , would it be too late to post here , i need some opinion

I opened my eyes to see a dark shadow in my bedroom, it looked like a figure of a man. I had been thinking a lot about my uncle Herbert who had died in the first world war ,l was stunned! Could he be the person on my bed? To stunned to talk to him l recalled speaking to a medium early on in the day about Herbert he came through and said he wondered what his life would have been like if he had lived he died aged 26 . I looked more closely at this figure on my bed then he said come on Pam get up!! We’re on holiday now!!! Pew!!!

Thanks for the great advice Joe Bunting. What I read, helps me know what’s ahead of me to be a writer. I love how you explained about it being hard to finish a story, when you are in the middle of the story. As to rowing a boat to an island. I’ve started stories, got to the middle and didn’t know where to go. Now I know that’s common to happen. I’ll close at this point and get started writing something that I wrote in High School that others loved. Thanks again for inspiring me with what you wrote.

Rick Olmsted

Nice blog here. I think this would be more helpful in my writing career. But if you really need a professional to write a children short story for you, I would recommend a gig I use on Fiverr https://www.fiverr.com/sophiebrown/write-kindle-children-bestseller-book-for-publishing

This is a great intro in short story writing! Usually the only writing I do is assignments and essays. I’ve been toying with the idea of writing a story for a while and this post provided great motivation. So here it is.. my first 15 minute attempt at putting ideas down in words.

The time had come to meet face to face with her biggest rival. She had never met her before but the stories were enough for her to realise the threat that she posed. The environment wasn’t one which forged the women together, to bond. It promoted rivalry. Only the fittest would survive the night and walk away with cash in the hand. Tonight was the same as every other night. It started out with the usual routine. She would meticulously apply her make up to accentuate her pale blue eyes. Her greatest asset, or at least that’s what they told her. The blackness of the eyeliner was unforgiving; no amount of it could cover up the turbulent storm brewing in her blue eyes. Her reflection showed no hint of the emotions she was trying to deny. Her hair was down around her shoulders, glistening from the heat in the room. The air was muggy despite it being a cool night. She looked around the room wondering how her life had brought her to be here in this moment. The walls were as red as bitten lips, that’s what they reminded her of. The other girls were getting impatient that she had taken so much time in the one mirror, which covered the wall above the alcove. There was barely enough room for all four of them to get ready in there. Bags of make up, shoes and dresses, if you could call them that, were scattered at their feet. The buzz of the dryer in the adjoining room reminded her that there was work to be done. Fresh sheets and towels needed to be put out in the rooms before the men arrived. This job gave her a reprieve from being in that suffocating red room. She left the girls to decide on the dresses they would wear tonight.

I was fine, good in fact, realizing that I was stuck in a rut of step 1, Telling my stories. I can do step two, even three. Now I’m lost at step four: I’m writing a short story, not a novel. I’m stopping here; lost my interest, for the moment.

Tara is unhappy with her life. She always has been. No one ever understood why. Tara comes from a great home, with a great family; yet she always seemed to be downtrodden and meloncholic. At 21 Tara isn’t even doing things that her peers enjoy. This should be the time in her life where fun, adventure and discovery are a must. Tara doesn’t follow crowds, has no real friends to speak of and is always quiet; except if called on in a class setting. John and lydia French, tara’s parents have sought help for her from many professionals, and none have been able to point out a diagnoses to fit tara’s personality flaws. There was a time once when tara was younger perhaps four or five when she was at summer camp. She showed light in her eye and a possibility of hope glimmered that maybe she had found her niche. The latter part of that camping trip showed the worst side of tara yet. It seemed she regressed even more than when she arrived. Fisher is a guy who grew up with tara and has know her and her family for many years. He has concocted this plan to attempt to court tara with these simple steps that he has been putting together to turn who he sees as the love of his life into a more loving and joyful human being. The first step was to be seen accidently by tara at more than one occation during her day. Of course it’s not accidental, he’s planned the whole thing, but in fisher’s mind maybe tara never got the attention she needed. On Saturdays tara frequents the same internet cafe near her University, then she goes running at a nearby park, following this she heads back to campus. Fisher was sure to be seen by tara in all but the last place her home, so as not to seem to creepy. He pb believes he may have saw tara grin or smirk once or maybe, he just wants to make her happy so badly that he imagined it. He did this for three saturdays, then finally askds tara to the movies. To his surprise tara says yes. Fisher is ecstatic. They schedule their date for the following week. Fisher picked tara up on time from her dorm and they stap for a street car meal before heading to the movies. He excorts her home and when he reaches in for a kiss tara scream can be heard throughout the city. Campus security arrives and tara is take

Sarah was shaking over the little table staring at her coffee. Her eyes looked as black s the liquid in the cup. She couldn’t speak, it was too much for her at the moment. Besides apart of maybe weak squick nothing else would come out from her mouth. She was so scared to go back home but she couldn’t stay in this coffee shop forever. Sarah didn’t have any idea what to do. She quit her job without finding the new one, all of her savings were gone already so she couldn’t really afford to move right now. But she also couldn’t face her landlord from hell and his crazy family. It was like the worst nightmare.

Sarah moved in to this house thinking it’s going to be a lovely place to live. She would share it with two friends and probably rent the third bedroom to another familiar face. At least that was the plan. The landlord was white with black hair and spoke good English. She assumed he was an English man. After seeing the place with her two mates they made the decision instantly. Paid cash for deposit to black haired man and received the keys. When asked for receipt he said he will provide it next time as he had no receipt book on him. Fair enough.

A few days later Sarah, Daniel and Becky lived together in the lovely semi-detached house with good sized garden. The trio opened some beers and decided to celebrate their new nest completely unaware of what is yet to come…

love your book! Keep on the good job

“Do you think Petraeus will like the red hood, or the blue hood?” Charlene aksed her brother, “or is the yellow one better? Hmm… the orange one is also very appealing. What do you think, Eustace?”

“I think you should just take one and go see him before it gets late, sister.” He sighed, annoyed.

The tall brunnette, turned around to face her brother. Why was she even asking him that kind of stuff anyway? He’s a boy, he wouldn’t care one bit. “If you are going to be such a ogre, why should I even ask?”

“I wish I could understand that too, you know.” he said, preparing himself for the trip. Lifting his simple dark brown hood from the floor, he sat down to fix his boots. “But I personally think I am not the best person to help you change the color of a piece of cloth, Charlene. It’s just a piece of cloth, you do not have to make such a big deal about it.”

She groaned angrily, while taking the red one.”I do not understand what is your probllem, really.”

“Guess what? Me neither.” he laughed as he ran through the door. Eustace could hear the angry blabbing of her sister, but decided to ignore.

(UGH IM SLOOOOOOOW!!!)

Wanted Child (FULL VERSION)

The siren’s screaming to the neighbors, waking them from their peaceful slumber. The red and blue lights blinding everyone who looks in its way. A little girl, not later of the age of 9, being carried out of a home in the arms of a police officer. Her crying silencing everything else to the man’s ears. The child clutching onto his navy-blue shirt, begging for the awful image out of her head. He looks at the girl in pain, wishing for a miracle to break through. He sighs and looks forward, his face a mask of pain. He looks around and spots a woman with her back turned to her, talking to one of the girl’s neighbors. He approaches her and acknowledges her. “Corrine,” he started. The woman turns around and lightly nods. “Chief Jacob Ray.” She states, concern written in her strained voice. She is a lawyer working on a case where she is defending a man who was framed for the murder of his brother. She might have been yelling at a court trial. She spoke, “What do you need? Poor child. She didn’t deserve to witness that.” She is right. She never deserved to witness such a horrible thing. “I need a blanket for her. And, also, give her water.” He looks down at her to see her asleep. He sighs and looks back at the woman. “She will stay with me until we find her a home.” She slightly widened her eyes, looking at Jacob confusedly. She replied, “Are you sure you can take care of a child? Jacob, you don’t have anyone else to help take care of this girl.”

She stopped when she heard the girl sighing. She looked at her with both pain and hope for her. Jacob also had hope. Hope that her life was going to change for the better and not for the worse. “I’ll go get the blanket and water.” He heard Corrine say. He didn’t acknowledge her, to let her know that he heard her. She sighed in content and walked away, yelling for a blanket and water. He looked down at her. Her blue eyes fluttered open, looking around. She looked up at him and smiled. She let go of her shirt and hugged him. His eyes widened slightly as she hugged him. His eyes slowly went back down as she started crying. He started shushing her, whispering that it is all over. That she doesn’t have to worry anymore. He was going to make sure of it. He was going to be on a hiatus to take care of her. A few moments later he hears a distant voice saying, “Here we go dear.” Corrine’s voice makes the girl look up. She sniffs and wipes her eyes, muttering a quick thank you while doing so. Corrine looks at the poor girl in despair and calmly says, “Drink. You must be thirsty.” Corrine holds a glass up, showing her that she has something for her to drink. The little girl nods, agreeing with the woman. Corrine gives the glass to her, holding it to her lips. The little girl drinks happily, sighing in content with the refreshing feeling, soothing her parched throat. Jacob asks, “So, what’s your name?” The girl stops drinking and looks at the man. She replies, “Elly, but my real name is Elizabeth. My parents used to call me “Elly”, but after their.” She stops, closing her eyes

This is all I have and I am writing 2 different versions. One is for a short story contest and one is for publishing (which is this one)

I love writing short stories. I believe what turns me on to the format is the fact that it makes for quick reading. At the same time, you can get so much out of it like you would a novel.

I do think I’ve been writing short stories the wrong way. It takes me a couple of weeks to get a story down. Most of it is due to time constraints. But I have tools to lessen that time. And I’m so worried about getting it right the first time that I miss the point of the process. It takes diligence and patience to write a great story.

I will take these tips to heart and work as hard as I can to write the best stories possible.

This story is about Rafa, a five-year-old boy born during the final years of Israel’s wandering in the wilderness. His father, Duriel, is a Levite who serves the tabernacle. His mother, Ronit, has just died. His older sister, Miriam, is ten years old.

Duriel is a bitter, heartbroken man. His wife is dead. His firstborn is a girl, and his only son will never be a man, have a family, or serve the tabernacle. There will be no one to continue his lineage. He feels that God has ruined his life, and it angers him. He is often critical, unkind, and angry at home, especially with his young daughter, who is desperately and imperfectly performing her dead mother’s duties: cooking food, caring for the household, and tending Rafa.

Rafa has Down’s Syndrome. He doesn’t understand death and believes his mother has abandoned him. He thinks she’s hiding somewhere in the camp. He keeps running off to find her, which causes stress and anger for his family and his Levite relatives.

Miriam cooks the meals, cares for the household, and tends Rafa while her father is at the tabernacle. Miriam is also learning to spin and weave. Her grandmother, a former slave in Egypt, is a master weaver. She is going blind and feels a desperate urgency to teach her granddaughter everything she can before she can no longer see. Miriam is caught between her grandmother’s insistence that she spend her time weaving and keeping track of Rafa. Her friends complain that she’s always working and never has time for fun.

One night, after Duriel has lost his temper and spanked Rafa, Miriam comforts him in bed. She tells him that their mother lives with Adonai. Rafa’s father has impressed both his children that Adonai lives in the tabernacle, the place where Moses speaks with Adonai. Miriam falls asleep, but Rafa doesn’t. He now knows where his mother is, and he leaves the house to find her.

Rafa wanders through the camp, unsure of where to go. When he sees torchlight, he follows it to the tabernacle. The guards are not at the door. Rafa parts the curtains and looks inside. A man’s voice tells him to come in. When he enters the Holy of Holies, he sees a shining man, Adonai, sitting on the ark. The man holds out his arms, and Rafa comes running to him. The man puts Rafa on his lap and asks what he wants. Rafa says he wants his mother.

The man calls Ronit. She appears in a pillar of light. Laughing and crying for joy, she gathers Rafa into her arms, carries back into the light, and they both disappear.

Adonai summons Moses and Duriel. They both come to the tabernacle. Moses enters; Duriel stands outside the door. Adonai tells Moses how to handle the situation. Duriel is not to be punished because Rafa entered the tabernacle. Instead, Duriel is to be relieved of his work for one year to spend the time mourning for his wife and son, caring for his mother, and comforting his daughter, Miriam. If he humbles himself sufficiently, Adonai will receive his service again, give him a woman to love, and more children, including sons to carry on his family line.

When Moses comes out of the tabernacle, he carries Rafa’s body wrapped in a new woolen blanket. Duriel recognizes the blanket as something his wife was making when she died. It had lain unfinished in their tent since her death. He examines it. The blanket is now completely finished. Taking his son’s body in his arms, Duriel falls to his knees sobbing. Moses lays his hands on Duriel’s head and begins blessing him.

Suddenly, there was a strange noise outside. Clare tiptoed across the creaky floor. She looked from behind the curtains. Strange shadows lurked from the misty town. They were unlike anything she’s ever seen before. As tall as a telephone booth but the limbs were strange… the legs were lean while the arms were strong. Clare lit a torch and went downstairs to investigate. The door slowly creaked open and into the ghostly streets she went.

There was suddenly a crack of lightning, and behind her, were the shadows. She ran as fast as her little legs could carry her but they were fast. She jumped into a nearby bush and waited. She saw the go into a tree. She decided to follow along. Pure curiosity powered her.

“Aaaaaaaaaaaaaahhhhhhh!….” She whispered screamed as she fell down a big hole.

She saw some vines in front of her. Her heart was racing. What was she going to see, a mystical land, an evil lair or the centre of the earth? She pushed aside the vines and thoughts and gaped at what she saw. Everything was unspeakable, she had to get out of this nightmare. Left was right, up was down, good was bad. She couldn’t breathe. Where was the exit? What is this place? Why did the men go here? Why? Why? Why?! She was trapped in her own thoughts and in the world.

She woke up. “It was too real..” She muttered.

Clare opened the curtains and screamed. Her heart was thumping hard and her brain was numb. Her eyes were frozen. Little did she know that this was just the beginning of mass terror and horror. Would she live or would she die? That is the question that remains unanswered…

Ignore this

The first time I noticed her was a rainy day. She was sitting in a chair and talked to herself. I was so curious about her who behaved strangely. I thought she was a weird person, but I wanna know her stories. I was sure she had a story, at least one. I said” Hi, you are beautiful.” She answered” My mom always says that, but she is gone.” “Where is she?” She said with a sweet smile” She is there. ” She pointed to her heart with small and thin hands.”In my heart and my dream.”

In a moment, I remembered that I was so jealous when I saw my friends and their mom hold hands. I understood this girl who missed her mom. But I thought her mom had a good reason to leave. We all have a reason when we make a choice. Sometimes we think only for ourselves. Sometimes we choose to sacrifice for love. Sometimes we are selfish. But no matter what decisions we have made, we still have hope and belief, and we have to.

I told the girl” Your mom lives happily. Your mom loves you.” She said” I always know that, but when will she be bak to see me ? I only wanna see her.” I said” She is already on her way to look for. She needs time.” The girl smiled like an angel.

But I lied to her, I have to.

She sought refuge in all except what she knew she could possibly thrive at. The fears, the shaky voice, the anger in her eyes and the misery in her soul. Nothing could begin to explain to the world how tortured and jaded her spirit had become. She never asked for this and loathed those who felt she could learn to live life differently.

How does one learn to live life? Is it in the way we were raised? Is it the choices we make? Is it how we perceive things? She was not raised like this. No one would make choices to feel like this and perception is reality, no? If her scars were on the outside instead of on the inside, she would be immediately raced to a hospital. The room would fill with doctors and nurses scurrying to make her lively. But the scars remained on the inside so the world did not see the wounds. The pain remained unseen and the rush for help was nowhere to be found.

Dying was the answer. Of course! She’d read the bubbly bullshit quotes about death being a permanent solution to a temporary problem. Who is to say it’s temporary? Cancer may be temporary. A patient may go into remission but no one judges them for feeling like death may be a better way. Why would she be judged? Demons are revolting things to handle and some, like the girl, simply cannot handle them alone. Would one allow their child to be tormented by another person, or would they help them? Why didn’t they help her? Why were her bullies not confronted?

This was a short short story I wrote that was submitted for a contest. It had to be 150 or less….

She could not explain the feeling she got when she saw him, and he touched her. Every time she tried, the words would just fall out in random order.

One day as they were laying on a blanket watching the drifting clouds, she looked at him and whispered, “I love you.” As he smiled he said, “I know you do,” his hand gripping hers tighter. “No, I mean I really love you. Do you remember when you were a kid and you would swing? The feeling you got in your tummy the higher you went,if there were a million pterodactyl-sized butterflies in there?” He rolled to his side and said, “Yes, that was the best feeling as a kid.” She smiled and said, “That’s the way I feel about you.” He reached over and sighed as he placed his lips to her forehead and whispered, “I love you.”

Short stories, to me, are the perfect literary form. The most amazing way to get across complex and critical concepts without bogging stories down with unnecessary melodrama. I’m actually looking at putting together an anthology-type short story periodical in the next few months. Anyone who’d be interested in being printed, maybe, shoot me a message nmoo651 (at) aucklanduni (dot) ac (dot) nz

It’s a dark night, unknown figure runs across the cold wet streets, flooded by intense rain. There’s a curfew, and this character is breaking it. Running across the stone alleyways and switching corners so swiftly is easy to mistake them for a shadow. Look. An officer. The figure expertly knocks them out by hitting when they are not looking, then hides the body Faster now, the hooded figure is speeding in the darkness, remember why they’re here. They have to escort a parcel across the country in a relay manner, and the figure is an amateur, and want to succeed they’re first true test. Everything’s going fine currently Until they slip. Makes a clanky noise as they fall and attracts numerous guards to their location, but before they can reach, hides in a crate. That was close. But his leg is hurt after the fall, and he is know limping, still needing to deliver his package to the other side of this county. Behind them by a couple 100 meters, a man of somewhat authority walks past. in his hand, a revolver. He enters the area where the figure knocked out an officer and hid him, and easily finds where the figure hid him, as he has dealt with his kind before. The figure creeps into an empty restaurant, where the server greets him happily. The figure asks for a map of this county, something they should have probably had earlier, but hey! They’re an amateur. The server in exchange asks for the figure’s name, to which they respond ‘Max’ after glancing at a Maximum Voltage sign. Max escapes by climbing onto the roof via ladder inside. authority guy returns, and hears Max above, and shoots server (NOO), and climbs up. He shoots max, and max almost falls off the tall building, saved by grabbing onto a gutter flowing with water. AG (authority guy) points gun “give me the parcel” Max puts it slowly into the gutter he’s holding on, and it drifts off. AG makes a break for it, trying to get the parcel before it falls, while max jumps off, landing on another ladder outside an adjacent building. When Ag opens the Parcel, he finds nothing (Ha ha!). Max continues to Victory! –Just a draft, and I apologize for any grammar mistakes.–

I found your “How to Write a Short Story from Start to Finish”, very useful. I represent a self-publishing company, Notion press and this information means a lot to our network of writers, to whom we will be sharing it. We also have similar useful content on our academy page. Please feel free to check out and get in touch with us. https://notionpress.com/academy/definitive-guide-on-how-to-write-a-novel/

A fish fought so hard not to know me. I fought harder to know him. We spent hours at our contest. When exhaustion had taken us both, we acquiesced. As he boarded the boat it was apparent his bravery and powerful fight was over and all I had to do was claim victory.

It was a victory that was sour to me. Something inside of my old self changed with meeting this fish. I loved that fish and our fight, it was just what I wanted. What was unexpected was the emotion of caring that poured out afterwards. I lack the skill of caring, not having any experience in how to care or being cared for will do that to a man. Hard life living without those things.

I held him gently in the water for what seemed like eternity, he got his strength back, thrashed and swam away.

goodby and hello, I said.

You have a great idea here, I think you can extend this idea into a short story. I like your style of writing, easy to understand.

This is rough idea I’ve been playing around with. Let me know what you think I can do to make it better. Thanks.

Ariala was led into the throne room of her own castle to face the man who had just taken over. He was a tall, broad-shouldered man in heavy metal armor. His long blonde hair was left to hang loosely around his body and his eyes were so dark that they seemed black to her.

“Hello Princess, we meet again.”

“I’d say it’s a pleasure to see you again Prince Demitri, but I was taught not to lie.”

“Charming as ever I see. Not to worry…I’ll change that little attitude of yours soon enough. For now…there’s something I want you to watch.”

Ariala watched as her father, the true King, was dragged into the room. He looked so battered and it broke her heart to see her father’s strength reduced to this. He had bruises covering his face and she was fairly certain one of his arms was broken.

“Why are you doing this? We have never done anything against your family or your kingdom…”

“You have not…true…but your father here has angered me greatly by denying me the one thing I wanted from him.”

“What might that be?”

“You, dear Ariala. I requested your hand in marriage…he refused.”

“So you decide that taking over my home is somehow going to make me want to marry you?”

“It doesn’t matter if you want it or not…I will marry you and you will do as you are told or suffer the consequences.”

“I will most certainly not be marrying you and nothing you can do to me will change my mind.”

“I was afraid you might be this way. Men…”

The soldiers holding her father up dropped him to the floor and pulled their swords, and she watched in horror as they ran their swords through her father’s body. As they pulled back she tried to go to his side but Demitri grabbed her by the waist and pulled her against his body causing her to lash out at him, kicking and hitting any part of him she could reach. He raised a hand to cradle the back of her neck and began squeezing gently, applying more and more pressure until she lost enough air to blackout. He handed her limp body to one of the castle’s royal guards.

“Take her to her chambers for now. Perhaps when she wakes she will be less unpleasent.”

The guard carried her to her bed and was soon joined by his Captain. “We need to get her out of here before it’s too late, Sir.”

“I know, and I have a plan for that. Do you remember John?”

“He’s the one that was always by her side when they were kids right?”

“Aye, that’s him.”

“What about him?”

“He’s the leader of a small band of mercenaries now…and they happen to be in the city below us right now.”

“You’re going to hire them to get her out of here?”

“No…I’m going to tell him that she’s in danger and I need him to help me get her away from this place as soon as possible. In the meantime…guard her door and let no one enter this room.”

“I will protect her, Sir…with my life is I must.”

“I’d rather it not come to that. I will be back as quickly as I can…hopefully with a plan.”

The Captain had faithfully served the Sky Kingdom’s royal family since he was a boy. His father had been the Captain of the Royal Guard at that time and he frequently followed the man to learn all he could from him…now his King was dead and his Princess was in danger. He kept the hood of his cloak up over his face as he slipped into the Queen’s Garden to meet with a man he never actually thought he’d see again.

“Why would the Captain of the Royal Guard want to meet with me in the middle of the night?”

He froze in mid-step as a soft baritone voice sounded out of the darkness, carefully lowering his hood to reveal his heavily greying hair. “Hello again, John. You seem to have done quite well for yourself, being the leader of a mercenary band now.”

“No thanks to you, of course…convincing the King to ship me off to be a squire to some low-level knight…that wasn’t very nice of you.” The man slid out of the shadows like he was a part of them. His jet black hair fell in a soft curtain to his shoulders while his bright blue eyes seemed to pierce the Captain like a spear.

“You were gettig too close to her. We couldn’t risk having her fall in love with someone of such low birth.”

“You mean because I was born a bastard right? What exactly do you want from me?”

“The Princess is in grave danger…and I am hoping you still care enough to help her.”

The man’s gaze sharpens at those words and his voice takes on a darker edge. “What kid of danger?”

“Sky Castle has been overtaken and the King has been killed…in front of her. The man responsible wants to force her to marry him to cement his new role here but she is defiant and I fear he will hurt herto get what he wants. I can get her out of the castle through one of the secret passages…but I cannot get her off the plateau without being caught. I am too well-known here.”

“If you can get her to the Royal Stable at midnight…my men and I can take care of her from that point.”

“Take her to Obsidian Castle in the North. Our allies there will help her.”

“I will take care of her, you have my word…whatever that’s worth to you.”

“When it comes to her…I know I can trust you to keep her safe. I will have her in the stable at midnight, her personal gryphon doesn’t have wings but it will follow her wherever she goes.”

“Wait…she still has that little guy? The blue panther with the bright little tail?”

“He’s not so little anymore…he’s quite large actually, and that tail is a thing of beauty. He’s one of the rare type that have no wings but he’s as loyal as they come…at least to her.”

“Good, she’ll need all the protection she can get. I will see you at midnight…stay safe Captain.”

“You as well, John.”

Later that night four men in dark cloaks were lurking in the shadows behind the Royal Stables, though one of them was clearly unable to remain still for long as the curly blonde begand shifting restlessly from one foot to the other. “Why are we hanging around here at this time of night anyway? This is boring.”

“I told you already. We’re here to help my childhood best friend escape from danger.”

“Right…but who is he?”

“You’ll see soon enough now stay still.”

“Gentlemen, good to see you made it here safely.”

“Same to you, Captain.”

“Wait…the Captain of the Royal Guard? HE’s your friend?”

“Of course not…don’t be ridiculous. The two of us can barely tolerate each other.”

“Wait…then who…?”

“John?”

“Hello again, Princess. Miss me?”

“John!” Ariala ran into the waiting arms of her friend, wrapping her arms around him and crying softly. “Why did you leave me?”

The dark haired man glared at the Captain before responding to her. “I was sent away little one…they wouldn’t let me go say goodbye to you. I thought they would tell you but it seems I was mistaken.”

“Captain? Is that true?”

“Yes, Princess…I’m afraid so.”

“Why?”

“You were getting too close…you father worried that you two would fall in love.”

Ariala took in a deep breath as she turned to face the Captain, planning to give him a piece of her mind, but the darker man placed a hand over her mouth with an amused smirk. “As much as I’d love to watch you verbally berate the man…I’m afraid we haven’t got the time right now. We have to get you out of here before they realize you’re gone.”

“I assume you have a plan already?”

“Of course…but first…” He snapped his fingers and her bright blue gryphon came out of his hiding spot, his tail fanning out in his happiness at seeing his favorite human. The princess wrapped her arms around the it’s neck and then laughed happily as John lifted her up onto it’s back. “You do realize I can do that on my own right?”

“I know…but it gave me an excuse to hold you for a moment.”

“You’ve never needed an excuse for that before, John.”

“Uh…John, perhaps we should get moving now?”

“Right you are my friend. Everyone mount up so we can get down the side of this plateau and down into the forest.”

The four men mounted their own gryphons. John had a hawk and panther gryphon, the curly blonde had a cheetah based gryphon, the auburn haired man ahd a lion and eagle gryphon, while the last man had a massive tiger based gryphon to bear his muscular body. Once they were all mounted they urged their gryphons over the stone wall around the castle grounds and began searching for the least treacherous path down the side of the plateau without going near the main road that led away from the castle. They ended up by the edge of the upper part of Queen’s Lake near the top of the waterfall that fell into the lower lake. “We’ll have to make our way down from here.”

“Can’t we just fly down?” The antsy blonde was, well, still antsy. The princess watched the man fidget every few minutes and constantly shift position. He reminded her of some of the village children withhow they had too much energyu to remain still for very long…most adult grew out of that but this one clearly hadn’t done so.

“We could…if we want to risk our gryphons breaking a wing trying to maneuver the dense branches with us on their backs.”

“Which we don’t…so we have to let them climb down this way.”

“Correct. You alright little one?”

“I’m fine…not the first time we’ve come down this way…remember?”

“How could I forget? You shoved me over the edge of the falls.”

“You were being a jerk…you deserved it.”

“I did…but it was still cold that day.”

“You lived.”

The other men all seemed to be amused at hearing about their leader’s childhood with her so she decided that she would share more stories once they were out of the danger zone. “I’ll tell you boys some more embarassing stories later.”

“You will not.”

“I will too…and you can’t stop me…you never could.”

“I’m a lot stronger now little one.”

“I can see that.”

The way her eyes roamed his figure left him feeling like she could see right through him and he heard more than one of his men snort softly in amusement as his face turned red. The princess gave them all a saucy little grin before mounting her gryphon.

That’s as far as I’ve gotten on it so far. Let me know what you think.

I have written short stories that I’ve worked on or kept in my keep file for up to 2 years. I didn’t know how to write a short story, but kept trying now I don’t think I could write another 300 page novel again if my life depended on it. However, I find my new love (Short Stories) thriller, horror difficult to sell to magazines or enter in competitions…I’m obsessed and won’t stop writing them!!!! Anyone know more about this Kindle Short Story Section?

I’ve been challenged (by a writing instructor) to write a short story of about 500 words or one full page. This seems a bit constraining to me, but I’d welcome any tips.

Morgan’s Fiasco

Our dinky rented room on the edge of Ohio U’s campus was really the basement level of an old frame house built into the side of a hill. Gabe, the rather eccentric old lady who owned the place lived above us in the rest of the house. We had our own entrance, so whatever went on in there was pretty much up to my roommate, Morgan, and me. One evening in the semi darkness of our room, I was trying to study by the dim light of a gooseneck lamp over our ancient second hand desk. George Shearing was issuing forth some soothing sounds on our 45 record player. Suddenly, Morgan, lying across the bottom bed of our double bunks, suddenly broke the silence by blurting out of nowhere, “We can fix that!” My muttered and obviously disinterested response was, “Hunh?” His convoluted answer increased in volume and conviction as he addressed the fact that our ceiling was made up of old, gray, tongue and grove wood slats. It was similar to many old porches built in the 1930’s, and was, indeed, rather ugly for a bedroom. His brilliant inspiration was that we could make up a huge batch of paper mache from strips of torn newspaper soaked in a mix of water and flour, and coat the ceiling it it. When it dried, we could roll on some of that fancy new Kem-Tone paint. “It’d lighten the place up – we’d have a great looking room at almost no cost,” he enthused. Dumb me. I went along with it, little guessing the horrific outcome of our folly. After a day’s hard work, and not getting too much paint or flour mix dripped around the room, it did look pretty good. At least it was brighter. The next night as I lay in my upper bunk trying to get to sleep, I could still smell the freshness of our beautiful new ceiling just a foot or so above my head. Suddenly I heard a funny noise close at hand. “Skritch, scratch, skritch . . .” My eyes popped wide open with the sudden realization of what I was hearing. Rats! There were rats attracted to the flour in our paper mache mix and they were between our ceiling and the floor above trying their best to get at it. I was off that bunk in a bound, pummeling and yelling incoherently at my hapless roommate who had no idea what it was all about. Needless to say, I spent a wakeful night trying to sleep on the floor, keeping one eye open in case of a “break through.” Some rat baits were set out next morning, and no further gnawing was heard for a couple days. But the worst was yet to come. Try to imagine the putrid aroma of one or more dead rats who met their demise in the confined space between the floors of our rooming house. It took weeks for the smell to dissipate, and just about that long for me to forgive Morgan’s creative genius.

I just got an idea – a spin off from my Fall Contest Short Story. But I’m afraid to write it here. I might expel all the “juice” and then not write it all out.

Oh, gosh! You had me quaking and looking over my shoulder. What visuals! What imagination! What suspense and…. horror! Good job. Did you do that all in just 15 minutes??? If so, I have no hope.

I can’t seriously take writing advice from a man that hasn’t yet grasped the situational spelling of your.

‘You don’t have to follow your scene list exactly, but they definitely help you work through your story, especially if your writing over multiple sittings.’

Those pesky grammar slip-ups happen to the best of us. It’s fixed now. Thanks for pointing it out!

“So they lived happily ever after,” finished Ms. Taslahm. Heather Giron yawned. The one thing that was worse than cleaning the poop of the old brown mare the school owned, a scrawny one that was called Marigold, was listening to Ms. Taslahm’s long, boring tales of this and that that were supposedly supposed to help them during life, like they had for A+ student from more than 100 years ago, Briar Rose, who later became Sleeping Beauty, or wishful Ella, who later became well-known Cinderella. Heather, really, didn’t see anything in her future that may lead her to a wonderful fortune and a story of her own. But that was okay. She didn’t exactly mind. It wasn’t as if she was expecting a wonderful fortune such as someone… Heather cast a side-glance at Savannah Rivers. Savannah Rivers was an annoying, pesky know-it-all of a girl. She had curly black hair and perfectly glossed lips. She had tanner, richer skin than most people in the village, and always wore beautiful, colorful gowns, a obvious contrast to Heather’s dull ones. Today, Savannah’s gown was a pale pink, and it matched her lip gloss and eyeshadow on her heavy lidded gray eyes. Noticing Heather watching her, Savannah smacked her lips and smiled the beautiful princess smile that all the boys fell for. She flashed it at Heather, who returned it with a big, exaggerated motion of someone flipping her hair, a.k.a. Savannah. Sincere Roque leaned over and laughed. Sincere Roque was one of Heather’s’ friends. He had a unique combination of eyes, 1 amber and 1 green. He loved acting. He had honey-colored hair and exactly 14 freckles…not that Heather noticed. Savannah shot them a frown then turned again, listening to Ms. Taslahm as she described the next task they were going to take. “After all, you never know when you’ll get your fortune, or your clue, that with the right knowledge can lead you write to your prince or your damsel in distress.” Kaden Kidd, Sincere’s best friend and ‘Prank Master in Training’ (as Sincere called it), raised his hand. Kaden’s family all had the same dark eyes and black, straight hair. Most of Kaden’s family, though, had pale, white skin, but Kaden had the opposite. He had bronze skin, which he was quite proud of. “Yes, Kaden.” Ms. Taslahm said with a hint of exhaustion in her voice. “Did you ever have a prince, or were you ever ad damsel in distress?” Ms. Taslahm narrowed her eyes. “Yes once…with another girl. The prince swooped in to save us, but he could only take one. He took the other girl, and Wizard Foaly’s henchman, Todd Fincher, had to save me. It was the worst day of my life.” Ms. Taslahm buried her face in her hands. Kaden snickered. “Isn’t that Old Todd from the Village Block. I thought he was Ms. Taslahm’s brother, not husband.” Now Heather had a question. Do you really have to be a damsel in distress to get a prince or a fortune? And do you hafta get a fortune? Can’t we just live like this? While she debated if she should ask the question or not, she stretched on her tree stump. Yes, tree stump. The villages’ school was so small and poor, that they couldn’t afford desks or chairs for everyone, proper lunch, or actual books so the students could read along with the teacher. All this was because of the School Overseer. He was a greedy old man, and whenever the payings came for the teachers and school, he often just took it himself. His office was a dream, and the only reason the teachers stayed teaching was because the loved and felt sorry for the kids. Heather just couldn’t see why. She felt sorry for herself now, and just thinking about it made the boring, fidgety ache come back. And a bit sorry for Ms. Taslahm. But she still tortured Heather everyday and night, and no matter what Ms. Taslahm did or feel was going to change that. Finally, Heather raised her hand, ignoring the snickers coming from Savannah’s side, and the fact that her ripped, tattered sleeve of one of her 5 dresses was growing short. “Yes?” Ms. Taslahm looked more than a bit annoyed. “Do you have to be a damsel in distress to get a prince and a fortune? And what’s so important about a fortune?” Silence settled around the class. Now Ms. Taslahm looked like she was going to go bonkers. “YES! YOU HAVE TO GET A PRINCE TO BE A PRINCESS AND TO GET A FORTUNE, AND YOU HAVE TO BE A DAMSEL IN DISTRESS TO BE A PRINCESS! WHERE HAS YOUR HEAD BEEN THESE LAST TWO YEARS HEATHER GIRON! AND YOU KNOW WHAT HAPPENS IF YOU DON’T GET A FORTUNE, GIRON! YOU END UP A SLAVE OR A TIRELESS WORKER, GETTING NO MONEY, WITH A LUNATIC OF A HUSBAND. YOU FALL OF THE TREE OF LIFE. YOU BECOME GOD’S LAUGHINGSTOCK! AND THEN YOU DIE!” Ms. Taslahm’s face became red and splotchy. Then, her voice softened. “I really hope you guys learn and listen to everything that I teach…it’ll help, a lot. Now, excuse me for a sec…” After Ms. Taslahm got out of hearing range, Sincere whooped and Kaden patted my back. “Congrats, Heather, you won. You made her blow big-time!” Dimly, Heather remembered the contest the boys and Heather had made. Whoever made their teacher ‘blow’, won. But that was by far the last thing on her mind. Is life really like that. You get a prince, you win, if not, you lose and perish…wow. Heather rubbed her temples as the full force of life slammed into her, and as she did, her strawberry blond hair swooped around her, covering her in what seemed like a safe, copper, veil, away and away from reality and, well, life. Away and away. (Comments, Suggestions?)

Life could be hard most of the times and it could be horrible. The worst thing about it though, is that people come and go. Living in the moment, we are all blissfully ignorant to the fact that maybe one day, the person in front of us could be a thousand miles away. We don’t usually think about it. What we usually think about is the future we could have with that one person together. We are hopeful that no matter what happens, we’ll always stay the same. We start building that perfect image of the future and how it would be with that one person beside us, but we always seem to forget that, in fact, people do come and go.

To me, it was great shock when that one person left me. I was very close to her: we were practically sisters. I had known her since we were kids. We grew up together; in fact, I can’t remember what my life was like before her. Both our parents believed that we are inseparable, and they made me believe it. What I didn’t know was the fact that they knew. They knew that one day she could leave me. They knew that in all honesty we weren’t inseparable. Most importantly, they knew that people come and go.

We were in the same middle school. We would go to school together and laugh along the way. She would pull me from my arm and drag to the school ground. Life was merrily moving on and we were mere kids living our lives. The last day of middle school – I remember it clearly- the sun was shining brightly in the sky. It was one of those hot, burning days. We were heading back from school, racing through the tree shades and laughing. Obviously, the excitement of the vacation hyped us up. If only I had paid attention at that time, I would’ve seen that my friend’s steps lacked their usual bounce and her smile lacked the usual sparkle. Thinking back to it again, I realized that her dreadlocks fell dead on her shoulders and gently swayed with the heat-filled wind. Her shoulders were slightly hunched with the weight of the news she had carried.

I was too excited to notice any of those little details, and I should’ve. We pranced all the way to our houses (we lived beside each other). As we were used to, we both ran through my front door as soon as it was opened. On the inside wasn’t what I expected. Mrs. and Mr. Sullivan were in the living room. It wasn’t something out of the ordinary though; they were always over at our house. Their faces, I will never forget the solemn look they had on their faces. Mom ushered me and Nancy into the house hurriedly. We both threw our bags next to the couch. There was tension in the air and I could feel it.

“What’s wrong?” I asked as I sat on an armchair. The adults present all looked at one another sharing worried glances. Nancy walked slowly to her parent’s side and clasped her hands together. She sat at the edge of the couch with her head hung low and feet bouncing fast. She was nervous, I could tell.

“There’s something we need to discuss…” Mom moved her gaze towards Mrs. Sullivan motioning for her to start.

Mrs. Sullivan swallowed nervously and cleared her throat. “We know you and Nancy are such great, close friends,”

“And we know we’ve always dreamt of you two growing together,” Mr. Sullivan continued.

“But there are some times when things don’t always go the way we wanted them to,” my father laid a gentle hand on my shoulder. I looked at him confused then turned to everyone.

“I don’t get where this is going.” My voice was shaky fearing what they could say.

“Mr. and Mrs. Sullivan have gotten a new job opportunity in France-”

“Well, that’s great! They’ve always wanted that!” I interrupted my mother and beamed at the Sullivans.

“Yeah, it is, honey, ” my mom smiled sadly, “but…”

“But what?”

“We’re going to France, Lee.” Nancy spoke for the first time. I was very proud of the Sullivan couple for finally reaching their goals. However, it took me a few seconds to actually comprehend what she had just said. Slowly, the smile was erased from my face.

“No…” One word. Only one word, but it was packed with emotions. Tears burned my eyes. I covered my mouth in shock as my gaze raced from person to another, searching for a sign that this isn’t true. This isn’t happening! But they all watched me with sad faces and guilt.

“No, this can’t be happening. This can’t be happening!” I got up to my feet with thoughts racing through my head. “What about our high school years together? We’ve always wanted to go to high school together! It is an experience that cannot be relived any time! What about the parties and sleepovers we were gonna have? Huh? How are we gonna do that now when we’re thousands of miles apart?”

“It wouldn’t be that bad, you know we can chat over the internet.” She tried saying weakly as the tears ran don her face.

“Chat over the internet? You and me both know that isn’t going to happen! Or have you forgotten about Cassandra?” She took in a sharp breath at Cassey’s mention. “You promised you won’t leave me the same way she has!”

“I don’t have a choice!” She was on her feet by now.

“Sure you do! You can stay here!”

“And leave my parents? Lee, you know I can’t live without them!”

“So that’s it? You’re actually going to leave me?” Both our eyes were bloodshot. The adults just sat there, barely holding their tears.

“I guess that’s it.” A second’s pause passed before we embraced each other. Our sobs were loud as we held onto each other. We slowly slid onto the ground; the adults soon joined us.

That moment I would never forget. The moment my best friend left me behind. It was the moment I realized how hard life could be. You truly never know someone’s value until they’re taken away from you. Even through the heartbreaks and break-ups I’ve went through in high school and college, nothing was worse or more painful than that one moment.

People come and go, that’s the way life is. They always leave an imprint of themselves behind, but their memories last long.

People will always come and will always go, but their memories will last long and strong.

The river was our life, yet it was our death. If it wasn’t for the current, and the water of the river, our crop fields would be nothing more than dry, dusty, useless plains. But the river was a deathtrap, after we would get a great harvest, the river would flood our small town, destroying houses, building, and lots of the crops. Livestock would die, and our villagers would be killed. As the main farmer, I tried to make a wall or a levee on the branch of the river that flows next to my lush crop field, but every time, the river would wash over, breaking the wall and destroying everything, I was determined not to let that happen. On July 2, just three months away from harvest, I got up at 5:00 AM, tired, and sleepy, being up 30 minutes earlier than usual. I’ve thought of moving to Italy or Israel, but even if I sold the crop field I wouldn’t make it, and the citizens here would die without me. I sighed, it was a hard life, but at least my wife and family was with me, well most of them. Last year My son moved to Greece, and my daughter, was killed by the flood. The grief follows me everywhere, my other kid is too young to remember them. I also fought with the guilt of my daughter’s death, if I just tried a little bit harder, got up a little bit earlier, I could have saved her, but I didn’t and now it’s too late. I sat there for a second and wiped a tear from my cheek, for her, I will stop the flood and make sure nobody else must suffer the pain and grief I have, NOBODY. I got up and got dressed. I looked in the mirror, and could barely recognize the man in it. I had calices, and wrinkles, and grey hair. My hair was messed up, my boots dirty, and my clothes ripped and torn, I don’t care how I look anymore, after her death, I quit caring about my looks, I just got up and left. Hygiene wasn’t a number one priority either, I barely brushed my teeth, and took a shower every one or two weeks. I didn’t care much for food either. Every morning I would get up, drink a cup of coffee, eat a slice of bread, and an egg. Then in the afternoon, I would retire to the house, my wife would cook something, then I’d drown my sorrows and burdens in whiskey. But to the current task, I was as determined as ever, and wasn’t going to waste any time. My servant would be tending to the farm all day, while I worked on the river. I grabbed a stale piece of bread, and shoved it in my mouth, barely noticing its terrible taste and its staleness. I skipped having a coffee or anything else. I went outside, the sun wasn’t up yet, but there was a faint red line the west, signaling that it was coming soon. I mounted my horse, and rode to the supply store. Once in town, I stopped at the store and bought tons of bricks, I paid for it, and left, determined to waste no time. By the time, I got back to the farm, the sun was up, and it was around 6:30. I had already wasted too much time. I went to the river and started putting the bricks together. I left a hole in the bottom, so the farm could still get water. I grew tired and tired, when eventually, after lugging a heavy brick, I fell, and I heard a crack. The pain was fierce, like I was getting stabbed with a million needles at once, and it kept going, the pain was sharp and searing, and it was in my back. I couldn’t move, I tried calling for help, but my mouth wouldn’t cooperate, I started seeing stars, and eventually, everything went black, and my head fell down hard, hurting more.

WIFES PERSPECTIVE

I asked the servant if he’d seen him, and he said, “I reckon I haven’t, seems a bit suspicious to me. Tell me if you have, he still owes me some money.” He started chuckling, but when he saw my solemn face, he quieted and got a somber look, “I hope you find him, good day ma’am.” He tipped his hat and kept milking a cow. I don’t know what to think, but eventually, I saw some bricks, then I saw a huge rock laying by it. When I realized, it wasn’t a rock, it was my husband! I nearly fainted, and choked back a sob, the pain of my daughter’s death became all too real again. I looked at him, he was breathing, but he wasn’t moving at all, his eyes were closed, he looked as if he was in another dimension and he looked like he was falling away, I gagged, and chocked back another sob. I ran up the hill and called for the servant to get the medic, and told him the situation, he complied, and I rushed back to my husband.

Everything was black, I was completely numb, and all feeling and heat went right out of my body, everything was cold, and I began to shiver inside my skin, then the memories came… I just exited the barn when I heard the screaming, it was oddly familiar, and I felt like I should know, the voice was tugging at me, when I remembered with a sickening nature, it was my daughter! I tried to run to her, at least my brain did, but my body wouldn’t comply. I was stuck there, helpless and my daughter screaming. What’s happening? I began to move when I heard the familiar gushing, the sound of the waves, and the river, it was flood season! Oh, no, my daughter, she must be there! I started sprinting, when I was stopped short. The gushing got louder, and louder, then BAM! The river exploded with an ear-cracking sound, like it did every year, except this year was different, the river noises were mixed with the screaming of my daughter, and I tried to run, but I was engulfed in water. I swam with all my might against the strong current to get to my daughter, but I couldn’t, I tried for a little bit, then, became tired, and couldn’t do anything, I had to use all my strength just to stay above water so I wouldn’t drown. I hoped that maybe the current would push my daughter to me, but I abandoned it when my daughter was pulled deep into the gushing, overflowing, imploding river, I then realized that this would be the end if I didn’t do something, so I swam as hard as I could, but after I moved a few feet, my arms burned, my legs roared with pain, and my body screamed for me to stop, but my brain told me to move forward, but I couldn’t, not one bit, my body shut down, and I couldn’t move, I sank to the bottom, and abdicated all hope of being able to rescue my daughter, Don’t worry, they’re going to find her, I just know it! The optimistic part of my brain said. But the rational part of my brain knew it wasn’t possible, and soon the rest of my mind agreed, and I felt defeated, like someone had come and took a huge chunk right out of my body and left it there. And I began to hope they wouldn’t save me either, so I could be with my daughter and live in eternal peace, then I could apologize that I wasn’t man enough to save her. I was at the bottom of the water, and I felt like paper, with no soul in me, and the water moved me, until I passed out.

The memories kept coming, one of my daughters funeral, one when my son left, one when me and my wife got married, and I let them come, until the second part of the daughter catastrophe came, then I began to fight, I didn’t want to see another atrocity, I wouldn’t let it happen, but the memory flood in anyways and I gave up.

I woke up, the water was gone, and the river was flowing like normal, I was accompanied by many medics, when one of them yelled, “He’s awake!” and they cheered, I would be cheering too, if I wasn’t the one about to die, almost nobody survived the flood, even if we recovered them, we could not get them to live, and some people would wake up, but die in the hospital. “We need to get him to the hospital immediately!” A medic with a white jacket and a red cross yelled, whom I assumed was the head medic. “No!” I yelled, and coughed up seawater, “My, daughter,” I got out and then the pain attacked me again. The doctor got a solemn look, and it looked like my wife choked back a sob, “I’m sorry to inform you of this, but we recovered your daughter and brought her back to life, but she was paralyzed, and soon died from a stroke.” I tried to be tough, but it wouldn’t happen, and began to sob, the doctor patted me on my back, and said, “I’m terribly sorry, but we are going to take you to the hospital, and our flood prevention donors are going to pay for her wedding and your medical bills.” I wanted to resist, I wanted to stop them from taking me to the hospital, I wanted to do something, anything, but it wouldn’t happen, and I let them take me, with the pain attacking me, fiercely, and I felt like I was imploding, I sighed, and fell asleep.

I woke up, finally away from the terrible memories, I attempted to sit up, but pain seared through me, and the pain engulfed me. I choked back a sob, the memories making the pain all too real again. I attempted to sit up again, when I realized I wasn’t where I was when I fell. I was in a hospital, the same one I was in when my daughter died, my first thought was that this was another memory, but I thought better of it when more pain seared through me. Then, I couldn’t move my right arm, or my left leg, and most of my body wasn’t responding, and it and the pain were threatening to engulf me. I tried to sit up, but all that happened was another searing pain, I cried out in agony. Then, the doctors came rushing to me. “I can’t move.” I managed to get out through gritted teeth, just with that little amount of talking, I felt tired, and more pain came. The doctor looked though some papers, then examined, me, and looked at a device, “Oh, dear.” He said, which made me feel a big scared. “What happened?” I managed again, the doctor looked at me, sighed, then talked, “When you were lugging that brick you fell, assuming because you were tired, and you landed on your arm wrong, which broke it, but when you fell, the brick fell on your back, breaking it, and,” he took a deep breath, then said, “making you paralyzed.” He left with a solemn look as I let that sink in, he had to be wrong, I tried to move, but couldn’t and tried to remain calm, but screamed inside my brain, fear, and pain attacked me, and me not being able to take it. I laid there, not knowing what to do or think, I was paralyzed, I’ll never be able to prevent the floods. I felt defeated, I surrendered, abdicating my chances of stopping the flood, and inside my mind, I was dying, I couldn’t take it, and pain seared through my body. Then, with a start, I awoke, and got ready to get to work.

Hi Everyone, Just getting started here and it looks like a wonderful spot to become a better writer. I like the forum setting also to exchange ideas and get input from others. Speaking of input, I have had a certain novel that I have wanted to write for a long time. I have a site and am starting to make a home for it and other works but it’s a sweeping storyline spanning years.I see my first lesson is to write a short story instead. I am not sure that I can pare this one down to a story in that amout of words and time.

So I would love some advice. Should I choose a subject from the list that was given to me or do a “partial ” story choosing a specific time frame, happening, or incident that could have a beginning and end derived from the book I want to write later? Thank you for any ideas and/or advice! Kathie

Gabriel García Marquez has a short story, “monologue of Isabel watching rain in Macondo”, which was originally part of a novel (like a chapter or something) but he decided he wasnt gonna use it, even tho he had already written it. So I’m guessing he wrote each chapter like a new short story, almost. His style is kinda difficult to copy, so maybe thats not a good example. Perhaps it doesnt really matter what you write, as long as you write it. Looking forward to reading some of your stuff, short or long 😀

This is my 15 minute writing practice. Usually, I do a lot more detail and something along the lines of romance, but for some reason I had a small idea of it having to do with a robotic girl and I just expanded onto it as I went along. I hope you like it! I’d like to know your thoughts on it too, what I did good and what I need to work on. If you have any interest in contacting me, just let me know. Thanks!

“When she was little, she never touched a Barbie doll like the other girls. She never thought about makeup. She was different. She read constantly. She learned to write stories at the age of 7. She could calculate the answers to basic Algebraic equations when she was 9. She didn’t just want to learn, it was as if she needed to learn. So that’s why I wasn’t surprised when the doctors told me she did.

Whenever I’d go over to her house and visit her, she’d be listening to music with her earbuds in while she did something like a puzzle on the floor. She’d never hear me walk in. But as soon as I asked her, say, maybe a mathematical question, all focus was on me and she’d be determined on getting the correct answer. She was strange. I never understood her ways or why she was the way she was, but I accepted it. I accepted her. I didn’t realize I’d be accepting an it.

I got the call on Wednesday morning around 3 A.M.. It was an officer from the police department. I was confused and scared. What could possibly be wrong? A million things. A million things could be wrong. I asked every question I could think of or manage to get out of my mouth, but all I could get for an answer from whoever it was on the other line was: “Come down here and see for yourself.” So I went down there to the police station. When I arrived I was wondering why we weren’t somewhere such as a hospital already. As I walked in, I knew why. For Lilith, we don’t need a hospital, we need a mechanic.

Lilith was sitting in a chair while uncertain medics, police officers, mechanics, and many others were surrounding her. At a distance her father was holding her mother in her arms as she cried, I’d expect him to, but he wasn’t. He was just staring at his daughter, a blank expression across his face. I ran over to them, only a few of the million questions I had, spilling out of my mouth. I couldn’t get a response from either.

I turned and barged into the crowd of people surrounding Lilith. “Lilith!” I screamed. No response from her, no movement, no words spoken, nothing. It’s as if there was a switch on her and it was turned off. I pushed through the crowds and they obliged, allowing me near her until I was on my knees crying as the wires that were strewn out of her knees lay twisted and coiled on the floor around me. What happened to her? What happened to my best friend?

To answer that question for you, the government persuaded her father that it was the right thing to do. That it’d be alright. That’d it’d be safe, for them to experiment on his daughter. They had a theory that if they somehow rearranged body parts and substituted wires and motors and such for things like organs and tissues, later in life the average human would be invincible. They’d be capable of learning anything. They’d be capable of learning everything. But Lilith, she learned everything already by the age of 19. What else was there for her to do? Her life goal was to do such and she’d done it. Her body was shutting down. She needed to know more, her robotic body needed it. Her mechanical mind needed stimulated by something.

Although she was mostly robotic, she was also partially human. She had one of the most humane things, emotion. And she was suffering as she grew weaker everyday. Literally dying to know more. As the robotic part of her began to give up, so did the human part. She gave up. She didn’t want to be just an experiment, and she definitely didn’t want to give any result to the scientists who thought this would be alright, that it was successful. So she let them know that it failed as she slashed through the wires and circuits inside her, turning off all parts of her, both motorized and mortal.”

I am currently working on a collection of short stories. It is in the beginning stages but the process is by far the most enjoyable part. I have about two thousand words completed so far. I roughly have spent about 5 hrs. The tips in this site have given me a clear path to creating a great story.I just want it to be able to relate to the reader grammatically. That’s my main concern but doing research is part of the journey.

Amazing tips. I have written a mystery novella with twist in the end. When I started it I intended it to be a short story but it got stretched to 46 pages of length. It’s available on my blog. You may check it and feedback will be highly appreciated http://neuriverse.blogspot.in/

Sarah, The most challenging part of writing a short story is having an idea from personal experience. Having a general idea of it as a slice of life. But what is the theme? You get a sort of theme in what you want the story to communicate. You write bits and pieces but the biggest challenge is making all fit together. Particularly you want a series of actions and you want the reader to think of the theme naturally occurring out of accumulated flow of the story. Larry B.

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The short story is a fiction writer’s laboratory: here is where you can experiment with characters, plots, and ideas without the heavy lifting of writing a novel. Learning how to write a short story is essential to mastering the art of storytelling . With far fewer words to worry about, storytellers can make many more mistakes—and strokes of genius!—through experimentation and the fun of fiction writing.

Nonetheless, the art of writing short stories is not easy to master. How do you tell a complete story in so few words? What does a story need to have in order to be successful? Whether you’re struggling with how to write a short story outline, or how to fully develop a character in so few words, this guide is your starting point.

Famous authors like Virginia Woolf, Haruki Murakami, and Agatha Christie have used the short story form to play with ideas before turning those stories into novels. Whether you want to master the elements of fiction, experiment with novel ideas, or simply have fun with storytelling, here’s everything you need on how to write a short story step by step.

How to Write a Short Story: Contents

The Core Elements of a Short Story

How to write a short story outline, how to write a short story step by step, how to write a short story: length and setting, how to write a short story: point of view, how to write a short story: protagonist, antagonist, motivation, how to write a short story: characters, how to write a short story: prose, how to write a short story: story structure, how to write a short story: capturing reader interest, where to read and submit short stories.

There’s no secret formula to writing a short story. However, a good short story will have most or all of the following elements:

• A protagonist with a certain desire or need. It is essential for the protagonist to want something they don’t have, otherwise they will not drive the story forward.
• A clear dilemma. We don’t need much backstory to see how the dilemma started; we’re primarily concerned with how the protagonist resolves it.
• A decision. What does the protagonist do to resolve their dilemma?
• A climax. In Freytag’s Pyramid , the climax of a story is when the tension reaches its peak, and the reader discovers the outcome of the protagonist’s decision(s).
• An outcome. How does the climax change the protagonist? Are they a different person? Do they have a different philosophy or outlook on life?

Of course, short stories also utilize the elements of fiction , such as a setting , plot , and point of view . It helps to study these elements and to understand their intricacies. But, when it comes to laying down the skeleton of a short story, the above elements are what you need to get started.

Note: a short story rarely, if ever, has subplots. The focus should be entirely on a single, central storyline. Subplots will either pull focus away from the main story, or else push the story into the territory of novellas and novels.

The shorter the story is, the fewer of these elements are essentials. If you’re interested in writing short-short stories, check out our guide on how to write flash fiction .

Some writers are “pantsers”—they “write by the seat of their pants,” making things up on the go with little more than an idea for a story. Other writers are “plotters,” meaning they decide the story’s structure in advance of writing it.

You don’t need a short story outline to write a good short story. But, if you’d like to give yourself some scaffolding before putting words on the page, this article answers the question of how to write a short story outline:

https://writers.com/how-to-write-a-story-outline

There are many ways to approach the short story craft, but this method is tried-and-tested for writers of all levels. Here’s how to write a short story step-by-step.

1. Start With an Idea

Often, generating an idea is the hardest part. You want to write, but what will you write about?

What’s more, it’s easy to start coming up with ideas and then dismissing them. You want to tell an authentic, original story, but everything you come up with has already been written, it seems.

Here are a few tips:

• Originality presents itself in your storytelling, not in your ideas. For example, the premise of both Shakespeare’s A Midsummer Night’s Dream and Ostrovsky’s The Snow Maiden are very similar: two men and two women, in intertwining love triangles, sort out their feelings for each other amidst mischievous forest spirits, love potions, and friendship drama. The way each story is written makes them very distinct from one another, to the point where, unless it’s pointed out to you, you might not even notice the similarities.
• An idea is not a final draft. You will find that exploring the possibilities of your story will generate something far different than the idea you started out with. This is a good thing—it means you made the story your own!
• Experiment with genres and tropes. Even if you want to write literary fiction , pay attention to the narrative structures that drive genre stories, and practice your storytelling using those structures. Again, you will naturally make the story your own simply by playing with ideas.

If you’re struggling simply to find ideas, try out this prompt generator , or pull prompts from this Twitter .

2. Outline, OR Conceive Your Characters

If you plan to outline, do so once you’ve generated an idea. You can learn about how to write a short story outline earlier in this article.

If you don’t plan to outline, you should at least start with a character or characters. Certainly, you need a protagonist, but you should also think about any characters that aid or inhibit your protagonist’s journey.

When thinking about character development, ask the following questions:

• What is my character’s background? Where do they come from, how did they get here, where do they want to be?
• What does your character desire the most? This can be both material or conceptual, like “fitting in” or “being loved.”
• What is your character’s fatal flaw? In other words, what limitation prevents the protagonist from achieving their desire? Often, this flaw is a blind spot that directly counters their desire. For example, self hatred stands in the way of a protagonist searching for love.
• How does your character think and speak? Think of examples, both fictional and in the real world, who might resemble your character.

In short stories, there are rarely more characters than a protagonist, an antagonist (if relevant), and a small group of supporting characters. The more characters you include, the longer your story will be. Focus on making only one or two characters complex: it is absolutely okay to have the rest of the cast be flat characters that move the story along.

Learn more about character development here:

https://writers.com/character-development-definition

3. Write Scenes Around Conflict

Once you have an outline or some characters, start building scenes around conflict. Every part of your story, including the opening sentence, should in some way relate to the protagonist’s conflict.

Conflict is the lifeblood of storytelling: without it, the reader doesn’t have a clear reason to keep reading. Loveable characters are not enough, as the story has to give the reader something to root for.

Take, for example, Edgar Allan Poe’s classic short story The Cask of Amontillado . We start at the conflict: the narrator has been slighted by Fortunato, and plans to exact revenge. Every scene in the story builds tension and follows the protagonist as he exacts this revenge.

In your story, start writing scenes around conflict, and make sure each paragraph and piece of dialogue relates, in some way, to your protagonist’s unmet desires.

Read more about writing effective conflict here:

What is Conflict in a Story? Definition and Examples

4. Write Your First Draft

The scenes you build around conflict will eventually be stitched into a complete story. Make sure as the story progresses that each scene heightens the story’s tension, and that this tension remains unbroken until the climax resolves whether or not your protagonist meets their desires.

Don’t stress too hard on writing a perfect story. Rather, take Anne Lamott’s advice, and “write a shitty first draft.” The goal is not to pen a complete story at first draft; rather, it’s to set ideas down on paper. You are simply, as Shannon Hale suggests, “shoveling sand into a box so that later [you] can build castles.”

5. Step Away, Breathe, Revise

Whenever Stephen King finishes a novel, he puts it in a drawer and doesn’t think about it for 6 weeks. With short stories, you probably don’t need to take as long of a break. But, the idea itself is true: when you’ve finished your first draft, set it aside for a while. Let yourself come back to the story with fresh eyes, so that you can confidently revise, revise, revise .

In revision, you want to make sure each word has an essential place in the story, that each scene ramps up tension, and that each character is clearly defined. The culmination of these elements allows a story to explore complex themes and ideas, giving the reader something to think about after the story has ended.

6. Compare Against Our Short Story Checklist

Does your story have everything it needs to succeed? Compare it against this short story checklist, as written by our instructor Rosemary Tantra Bensko.

Below is a collection of practical short story writing tips by Writers.com instructor Rosemary Tantra Bensko . Each paragraph is its own checklist item: a core element of short story writing advice to follow unless you have clear reasons to the contrary. We hope it’s a helpful resource in your own writing.

Update 9/1/2020: We’ve now made a summary of Rosemary’s short story checklist available as a PDF download . Enjoy!

Click to download

Your short story is 1000 to 7500 words in length.

The story takes place in one time period, not spread out or with gaps other than to drive someplace, sleep, etc. If there are those gaps, there is a space between the paragraphs, the new paragraph beginning flush left, to indicate a new scene.

Each scene takes place in one location, or in continual transit, such as driving a truck or flying in a plane.

Unless it’s a very lengthy Romance story, in which there may be two Point of View (POV) characters, there is one POV character. If we are told what any character secretly thinks, it will only be the POV character. The degree to which we are privy to the unexpressed thoughts, memories and hopes of the POV character remains consistent throughout the story.

You avoid head-hopping by only having one POV character per scene, even in a Romance. You avoid straying into even brief moments of telling us what other characters think other than the POV character. You use words like “apparently,” “obviously,” or “supposedly” to suggest how non-POV-characters think rather than stating it.

Your short story has one clear protagonist who is usually the character changing most.

Your story has a clear antagonist, who generally makes the protagonist change by thwarting his goals.

(Possible exception to the two short story writing tips above: In some types of Mystery and Action stories, particularly in a series, etc., the protagonist doesn’t necessarily grow personally, but instead his change relates to understanding the antagonist enough to arrest or kill him.)

The protagonist changes with an Arc arising out of how he is stuck in his Flaw at the beginning of the story, which makes the reader bond with him as a human, and feel the pain of his problems he causes himself. (Or if it’s the non-personal growth type plot: he’s presented at the beginning of the story with a high-stakes problem that requires him to prevent or punish a crime.)

The protagonist usually is shown to Want something, because that’s what people normally do, defining their personalities and behavior patterns, pushing them onward from day to day. This may be obvious from the beginning of the story, though it may not become heightened until the Inciting Incident , which happens near the beginning of Act 1. The Want is usually something the reader sort of wants the character to succeed in, while at the same time, knows the Want is not in his authentic best interests. This mixed feeling in the reader creates tension.

The protagonist is usually shown to Need something valid and beneficial, but at first, he doesn’t recognize it, admit it, honor it, integrate it with his Want, or let the Want go so he can achieve the Need instead. Ideally, the Want and Need can be combined in a satisfying way toward the end for the sake of continuity of forward momentum of victoriously achieving the goals set out from the beginning. It’s the encounters with the antagonist that forcibly teach the protagonist to prioritize his Needs correctly and overcome his Flaw so he can defeat the obstacles put in his path.

The protagonist in a personal growth plot needs to change his Flaw/Want but like most people, doesn’t automatically do that when faced with the problem. He tries the easy way, which doesn’t work. Only when the Crisis takes him to a low point does he boldly change enough to become victorious over himself and the external situation. What he learns becomes the Theme.

Each scene shows its main character’s goal at its beginning, which aligns in a significant way with the protagonist’s overall goal for the story. The scene has a “charge,” showing either progress toward the goal or regression away from the goal by the ending. Most scenes end with a negative charge, because a story is about not obtaining one’s goals easily, until the end, in which the scene/s end with a positive charge.

The protagonist’s goal of the story becomes triggered until the Inciting Incident near the beginning, when something happens to shake up his life. This is the only major thing in the story that is allowed to be a random event that occurs to him.

Your characters speak differently from one another, and their dialogue suggests subtext, what they are really thinking but not saying: subtle passive-aggressive jibes, their underlying emotions, etc.

Your characters are not illustrative of ideas and beliefs you are pushing for, but come across as real people.

Your language is succinct, fresh and exciting, specific, colorful, avoiding clichés and platitudes. Sentence structures vary. In Genre stories, the language is simple, the symbolism is direct, and words are well-known, and sentences are relatively short. In Literary stories , you are freer to use more sophisticated ideas, words, sentence structures, styles , and underlying metaphors and implied motifs.

Your plot elements occur in the proper places according to classical Three Act Structure (or Freytag’s Pyramid ) so the reader feels he has vicariously gone through a harrowing trial with the protagonist and won, raising his sense of hope and possibility. Literary short stories may be more subtle, with lower stakes, experimenting beyond classical structures like the Hero’s Journey. They can be more like vignettes sometimes, or even slice-of-life, though these types are hard to place in publications.

In Genre stories, all the questions are answered, threads are tied up, problems are solved, though the results of carnage may be spread over the landscape. In Literary short stories, you are free to explore uncertainty, ambiguity, and inchoate, realistic endings that suggest multiple interpretations, and unresolved issues.

Some Literary stories may be nonrealistic, such as with Surrealism, Absurdism, New Wave Fabulism, Weird and Magical Realism . If this is what you write, they still need their own internal logic and they should not be bewildering as to the what the reader is meant to experience, whether it’s a nuanced, unnameable mood or a trip into the subconscious.

Literary stories may also go beyond any label other than Experimental. For example, a story could be a list of To Do items on a paper held by a magnet to a refrigerator for the housemate to read. The person writing the list may grow more passive-aggressive and manipulative as the list grows, and we learn about the relationship between the housemates through the implied threats and cajoling.

Your short story is suspenseful, meaning readers hope the protagonist will achieve his best goal, his Need, by the Climax battle against the antagonist.

Your story entertains. This is especially necessary for Genre short stories.

The story captivates readers at the very beginning with a Hook, which can be a puzzling mystery to solve, an amazing character’s or narrator’s Voice, an astounding location, humor, a startling image, or a world the reader wants to become immersed in.

Expository prose (telling, like an essay) takes up very, very little space in your short story, and it does not appear near the beginning. The story is in Narrative format instead, in which one action follows the next. You’ve removed every unnecessary instance of Expository prose and replaced it with showing Narrative. Distancing words like “used to,” “he would often,” “over the years, he,” “each morning, he” indicate that you are reporting on a lengthy time period, summing it up, rather than sticking to Narrative format, in which immediacy makes the story engaging.

You’ve earned the right to include Expository Backstory by making the reader yearn for knowing what happened in the past to solve a mystery. This can’t possibly happen at the beginning, obviously. Expository Backstory does not take place in the first pages of your story.

Your reader cares what happens and there are high stakes (especially important in Genre stories). Your reader worries until the end, when the protagonist survives, succeeds in his quest to help the community, gets the girl, solves or prevents the crime, achieves new scientific developments, takes over rule of his realm, etc.

Every sentence is compelling enough to urge the reader to read the next one—because he really, really wants to—instead of doing something else he could be doing. Your story is not going to be assigned to people to analyze in school like the ones you studied, so you have found a way from the beginning to intrigue strangers to want to spend their time with your words.

Whether you’re looking for inspiration or want to publish your own stories, you’ll find great literary journals for writers of all backgrounds at this article:

https://writers.com/short-story-submissions

Learn How to Write a Short Story at Writers.com

The short story takes an hour to learn and a lifetime to master. Learn how to write a short story with Writers.com. Our upcoming fiction courses will give you the ropes to tell authentic, original short stories that captivate and entrance your readers.

Rosemary – Is there any chance you could add a little something to your checklist? I’d love to know the best places to submit our short stories for publication. Thanks so much.

Hi, Kim Hanson,

Some good places to find publications specific to your story are NewPages, Poets and Writers, Duotrope, and The Submission Grinder.

“ In Genre stories, all the questions are answered, threads are tied up, problems are solved, though the results of carnage may be spread over the landscape.”

Not just no but NO.

See for example the work of MacArthur Fellow Kelly Link.

[…] How to Write a Short Story: The Short Story Checklist […]

Thank you for these directions and tips. It’s very encouraging to someone like me, just NOW taking up writing.

[…] Writers.com. A great intro to writing. https://writers.com/how-to-write-a-short-story […]

Hello: I started to write seriously in the late 70’s. I loved to write in High School in the early 60’s but life got in the way. Around the 00’s many of the obstacles disappeared. Since then I have been writing more, and some of my work was vanilla transgender stories. Here in 2024 transgender stories have become tiresome because I really don’t have much in common with that mind set.

The glare of an editor that could potentially pay me is quite daunting, so I would like to start out unpaid to see where that goes. I am not sure if a writer’s agent would be a good fit for me. My work life was in the Trades, not as some sort of Academic. That alone causes timidity, but I did read about a fiction writer who had been a house painter.

This is my first effort to publish since the late 70’s. My pseudonym would perhaps include Ahabidah.

Gwen Boucher.

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August 29, 2020

How To Write A Story For Complete Beginners

by Argentina Botezatu , under Writing skills

Everyone loves to be entertained by a good story. You often find yourself reading the same novel several times. In the same way your friend’s story seems so funny, even if they already told it.

How about kids? They love stories and can listen to one a hundred times and still ask you to read to them again. 

But repeating the same story gets them bored and to be true, we get bored by it too. Wouldn’t it be amazing if you could tell your kids a story of your own? 

How To Write A Story?

Oh. That’s simple. You write it. Sit down, get a pen and paper, or a laptop if you prefer to, and start writing. 

The story may start with “Once upon a time… ” or you may even get a little bit creative. That sounds funny, but in reality, you might never get a sincere smile from your kids. 

Still, we have great news for you! There is a simple way to write a great story, easy, and step by step. You don’t need a sudden burst of inspiration. You might get away with your creativity and life experience.

How To Write A Great Story?

Now that’s a little bit more complicated. No, it’s not hard or “impossible”, but you are going to use your brain for this. You’re ready? Let’s get started!

Step 1: Choose The Main Character

How do you do it? Simple. Try to recall some of your favorite childhood memories. Is there something you would like to write about? Great. Choose one and define the main subject line. 

You don’t have to make it perfect. All you need to do is to write down who is the main character. Describe in one sentence what he is going through. Add details about the time and location. Make it short.

Step 2: Add More Characters

Now that you got your starting point, choose the other characters. Split them into two categories: secondary and other ones. Describe each one in 10 words. Write about what they like and don’t like, how they look and act. 

You can use more than 10 words, but don’t expand the limit too much. Describe all your characters, by following up the next formula: 

Name + Look + Personal qualities + Likes/Dislikes + Actions = Character

Step 3: Write The Outline

You want to make it short and clear. Write down one sentence for each of the story elements. Answer shortly to the questions down below. For more clarity, we’ll look at the Brothers Grimm story “Cinderella”.

Introduction: When and where is the action taking place? Who are the main characters? What is the main point of conflict here?

Example: Once upon a time, there lived a girl named Cinderella. She lived with her evil step-mother and evil step-sisters in a land far away.

Rising action: What happens? Describe the actions going on.

Example: Every day, the evil step-mother, made Cinderella work all day long and into the night. 

One day, an invitation to a ball was sent to all the young ladies of the kingdom. The evil stepmother locked Cinderella in her room so she could not attend it. She thought all hope was lost until her fairy godmother appeared. 

Cinderella attended the ball, dressed up in a beautiful gown and glass slippers. She met the prince and danced with him. 

Climax (turning point): What turned the situation upside down? How did the main characters react? 

Example: As the clock turned 12, Cinderella rushed off back home and left the prince only with a glass slipper.

Falling action: How do the characters solve the problem? What do they try to do?

Example: Prince Charming looked for Cinderella throughout the entire kingdom. He tried the slipper on every girl to see if it fit one of them. 

Resolution: How was the conflict solved? What was the solution? How did the story end?

Example: The prince gently slipped the glass slipper on Cinderella’s foot. He took her by hand and made her his bride. Cinderella and Prince Charming lived happily ever after.

Step 4: Fill in The Story

Don’t be overwhelmed by this step. It is not as hard as it seems, and we’ll help you with this. Here are some tips for you:

• Write In One Sitting

Write everything in one sitting. This is a solution. Do like this not only the draft but also the whole process. You will notice how easy it is when you will get from one step to another. 

Don’t be afraid of the writer’s block. If you experience one, pass on to the next part of the step, and then return to it later. Write whatever comes to your mind. Don’t try to make it perfect or to sound good, you will edit the text later.

• Show The Scene

Instead of talking about something that changed the life of the main character, show it. Present the scene to the reader. 

Describe the location and the weather. Write about the main character’s emotions. We promise you, the reader will love this part.

• Schedule Time To Write

“Plans are of little importance, but planning is essential.” Winston Churchill

You want to schedule the time you are going to be writing. Choose a time when you are not going to be distracted by chores, work tasks, or other responsibilities. 

The best time to work is in the morning, scientists say. Yet, the burst of creativity is very big after lunch, 4:30 pm, some say even 10 pm. Outline your story in the morning when your mind is clear and you don’t have urgent tasks. Leave the editing for the “creative time” of the day.

• Use Online Tools To Check Your Grammar 

A great writer is known not only by his amazing works but also by the correctness of his sentences. A grammar tool makes your story better. 

It helps you choose the right words, avoid misspelling, and other awful mistakes. If you want to write a great story, you want to write correct words. Try Virtual Writing Tutor . Don’t mess up your great story.

• Choose A Point Of View

Do you remember back in the day when you had to write a short story about your summer vacation? It was interesting, but still, homework is homework. 

Oh, and those confusing points of view? He, She, I. It was overwhelming. Don’t repeat those mistakes. Choose a point of view . 

Here is a cheat sheet for you:

First Person – It’s a type of narrative when the reader feels like he is in the character’s mind. The I and we perspective . It makes the reader feel connected.

Second Person – It is rarely used in storytelling but still has a connection with the reader. The you perspective , makes the reader feel like you are talking to him.

The third person – From this point of view, you describe the life of the characters. Writing about their emotions and actions from he/she/it/they perspective. Specifically this perspective will still make the reader feel connected to the character in a witness’s way.

Step 5: Edit Your Masterpiece

We are not kidding. You wrote a masterpiece. We are sure your readers or listeners will appreciate your hard work. Finally the last thing you need to do is editing. 

Indeed, don’t touch the story for the next two days, or at least do it in the morning. This way, your impression will be gone and you will edit with a clear mind. 

Choose a quiet space, read your work, and underline the words or parts you don’t like. Write down any commentaries you have. In the end, rewrite the needed parts and read your story out aloud. 

You will see how it sounds and train yourself for a storytelling night with your kids. You can listen to Stuart Mclean, the Canadian radio broadcaster for inspiration. 

Bonus: How To Stay Motivated To Write?

Yet, if the spark in the eyes of your kids isn’t enough then what is then? Or maybe you don’t have kids or any family friends with children. 

If you want to write a story for yourself or even your life story you need to know one thing. Make it a habit. We know right? A habit? Try to tie your writing habit to another one you already do. 

For example, when you drink your morning coffee bring your pen and paper with you. You may use your phone for this.

Write for a short time, even 5 minutes will be enough. Motivation will help you start something, but only habits make you achieve it.

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How to Write a Story from Start to Finish

Last Updated: June 24, 2024 Fact Checked

Developing Characters and Plot

Drafting your story, improving your story, revising and finalizing the story, sample excerpts.

This article was co-authored by Lucy V. Hay and by wikiHow staff writer, Danielle Blinka, MA, MPA . Lucy V. Hay is a Professional Writer based in London, England. With over 20 years of industry experience, Lucy is an author, script editor, and award-winning blogger who helps other writers through writing workshops, courses, and her blog Bang2Write. Lucy is the producer of two British thrillers, and Bang2Write has appeared in the Top 100 round-ups for Writer’s Digest & The Write Life and is a UK Blog Awards Finalist and Feedspot’s #1 Screenwriting blog in the UK. She received a B.A. in Scriptwriting for Film & Television from Bournemouth University. There are 13 references cited in this article, which can be found at the bottom of the page. This article has been fact-checked, ensuring the accuracy of any cited facts and confirming the authority of its sources. This article has been viewed 1,586,899 times.

A good story captures your reader’s attention and leaves them wanting more. To craft a good story, you need to be willing to revise your work so that every sentence matters. Start your story by creating memorable characters and outlining a plot. Then, write a first draft from beginning to end. Once you have your first draft, improve it using a few writing strategies. Finally, revise your story to create a final draft. You may need to edit a few times but keep doing so until you enjoy the final product.

Things You Should Know

• Make character sheets and choose a story setting. Then, create a plot outline to guide you through the story-writing process.
• Set the scene, introduce the characters, and establish a problem for the characters to solve in the first 2-3 paragraphs.
• Fill the middle of the story with action that shows the character(s) working on the problem. Present 2-3 new challenges to keep things interesting.
• Create dialogue that reveals something about your characters and keeps readers' eyes move down the page.

• Your life experiences
• A story you heard
• A family story
• A “what if” scenario
• A news story
• An interesting person you saw
• Photographs

• Do the sheet for your protagonist first. Then, make character sheets for your other main characters, like the antagonist. Characters are considered main characters if they play a major role in the story, such as influencing your main character or affecting the plot.
• Figure out what your characters want or what their motivation is. Then, base your plot around your character either getting what they want or being denied it.
• You can create your own character sheets or find templates online.

• For example, a story about a girl who wants to become a doctor would go much differently if it were told in the 1920s instead of 2019. The character would need to overcome additional obstacles, like sexism, due to the setting. However, you might use this setting if your theme is perseverance because it allows you to show your character pursuing her dreams against societal norms.
• As another example, setting a story about camping deep in an unfamiliar forest will create a different mood than putting it in the main character's backyard. The forest setting might focus on the character surviving in nature, while the backyard setting may focus on the character's family relationships.

Warning: When you pick your setting, be careful about choosing a time period or place that's unfamiliar to you. It's easy to get details wrong, and your reader may catch your errors.

• Create a plot diagram consisting of an exposition, inciting incident, rising action, climax, falling action, and resolution.
• Make a traditional outline with the main points being individual scenes.
• Summarize each plot and turn it into a bullet list.

• 1st person POV - A single character tells the story from their perspective. Because the story is the truth according to this one character, their account of events could be unreliable. For instance, “I tiptoed across the floor, hoping not to disturb him.”
• 3rd person limited - A narrator recounts the events of the story but limits the perspective to one character. When using this POV, you can’t provide the thoughts or feelings of other characters, but you can add your interpretation of the setting or events. For example, “She tiptoed across the floor, her entire body tense as she fought to stay quiet.”
• 3rd person omniscient - An all-seeing narrator tells everything that happens in the story, including the thoughts and actions of each character. As an example, “As she tiptoed across the room, he pretended to be asleep. She thought her quiet steps weren’t disturbing him, but she was wrong. Beneath the covers, he clenched his fists.”

• You might start your story like this: “Esther pulled her medical text from the mud, carefully wiping the cover clean on the hem of her dress. The laughing boys sped away on bicycles, leaving her to walk the last mile to the hospital alone. The sun beat down on the rain-soaked landscape, turning the morning’s puddles into a dank afternoon haze. The heat made her want to rest, but she knew her instructor would use tardiness as an excuse to kick her out of the program.”

• For example, let’s say that Esther’s class is going to get the opportunity to work with real patients, and she wants to be chosen as 1 of the students who gets to do it. However, when she gets to the hospital, she’s told she can only go in as a nurse. This sets up a plot where Esther tries to earn her spot as a doctor-in-training.

• For example, Esther might go into the hospital as a nurse, look for her peers, switch her clothes, almost get caught, and then meet a patient who needs her help.

• In Esther's story, the climax might occur when she’s caught trying to treat a patient who’s collapsed. As the hospital tries to remove her, she shouts out a correct diagnosis, causing the senior doctor to demand her release.

• For instance, the senior doctor at the hospital might compliment Esther and offer to be her mentor.

• Esther’s story might end with her starting rounds with her new mentor. She might reflect on what she would have lost if she hadn’t defied the rules to pursue her goal.

Your words should have an impact. "Good writing does not succeed or fail on the strength of its ability to persuade. It succeeds or fails on the strength of its ability to engage you, to make you think, to give you a glimpse into someone else's head."

• For example, starting with Esther walking to the hospital is a better place to start than when she enrolled in medical school. However, it might be even better to start when she arrives at the hospital.

• For example, this piece of dialogue shows us that Esther is frustrated: “But I’m the top student in my class,” Esther pleaded. “Why should they get to examine patients but not me?”

• For example, Esther being denied entry to the hospital as a doctor is a horrible experience for her. Similarly, being grabbed by security would be frightening.

• For example, Esther could react to the smell of the hospital or the sound of beeping machines.

• For instance, Esther has worked really hard for something only to be denied it based on a technicality. Most people have experienced a failure like this before.

• Printing out your story may help you see it from a different perspective, so you might try that when you go back to revise it.
• Setting your work aside for a little while is a good move, but don't set it aside for so long that you lose interest in it.

• You can also read your story to other people and ask them for advice.

• The people closest to you, like your parents or best friend, may not provide the best feedback because they care about your feelings too much. However, you may be able to find a writing critique group on Meetup.com or at your local library.
• For feedback to be helpful, you have to be receptive to it. If you think you've written the most perfect story in the world, then you won't actually hear a word anyone says.
• Make sure you're giving your story to the right readers. If you're writing science fiction but have handed your story to your writer friend who enjoys literary fiction, you may not get the best feedback.

Lucy V. Hay

If you're getting good feedback, consider submitting your story to a short story contest. Some short story contests have prizes, like being published in an anthology or having a chance meet an agent. Those types of things can be valuable to you later on. For instance, if you get published in several anthologies, you can utilize that when you're making submissions to agents. Some competitions, like the Bridport Prize and the Bath Short Story Award in the UK, are very prestigious—if you can win one of those, you'll actually be seen as a writer with some significant chops.

• For instance, let’s say there’s a passage where Esther sees a girl in the hospital who reminds her of her sister. While this detail might seem interesting, it doesn’t advance the plot or show something meaningful about Esther, so it’s best to cut it.

Community Q&A

Reader Videos

• Keep a notebook with you wherever you go so you can write whenever an idea comes to you. Thanks Helpful 5 Not Helpful 0
• Don't start editing your story right away, as you're less likely to see errors or plot holes. Wait a few days until you can look at the story with fresh eyes. Thanks Helpful 3 Not Helpful 0
• Do drafts before you do the final copy. This helps a lot with editing. Thanks Helpful 2 Not Helpful 0

• Don't copy things from other books, because it’s plagiarism . Thanks Helpful 13 Not Helpful 1
• Don't edit as you work, because it slows your writing down. Thanks Helpful 11 Not Helpful 1
• Make sure you vary your sentence lengths. Thanks Helpful 14 Not Helpful 3
• Don’t make your story drag by incorporating extra information that isn’t necessary to the plot or character development. Thanks Helpful 11 Not Helpful 6

You Might Also Like

• ↑ https://writingcenter.unc.edu/tips-and-tools/brainstorming/
• ↑ https://www.scad.edu/sites/default/files/PDF/Animation-design-challenge-character-sheets.pdf
• ↑ https://www.bbc.co.uk/bitesize/topics/zkgcwmn/articles/zfh6vk7
• ↑ https://owl.purdue.edu/owl/general_writing/the_writing_process/developing_an_outline/how_to_outline.html
• ↑ https://www.grammarly.com/blog/point-of-view/
• ↑ https://literarydevices.net/rising-action/
• ↑ https://www.rcboe.org/cms/lib010/GA01903614/Centricity/Domain/4395/Elements%20of%20a%20Story.pdf
• ↑ https://penandthepad.com/incorporate-dialogue-narrative-21717.html
• ↑ https://ed.ted.com/lessons/how-to-make-your-writing-suspenseful-victoria-smith
• ↑ https://www.readingrockets.org/strategies/descriptive_writing
• ↑ https://writingcenter.unc.edu/tips-and-tools/revising-drafts/
• ↑ https://writingcenter.unc.edu/tips-and-tools/getting-feedback/
• ↑ https://owl.purdue.edu/owl/general_writing/academic_writing/conciseness/eliminating_words.html

About This Article

To write a good story, make sure the plot has a conflict and that there's something at stake, which will keep readers hooked. For example, you could write about two men fighting over the same person. You should also come up with characters that are relatable so your readers get invested in them. Also, avoid explaining everything to readers, and instead try to show them through the dialogue and actions of the characters. For example, instead of telling readers that your main character is grumpy and bitter, you could include a scene where they lash out at another character for no reason. For tips on how to come up with story ideas, keep reading! Did this summary help you? Yes No

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Story Writing Worksheets

Children, as well as adults, love to use their imagination and create wonderful stories! They can come up with fantasies that take them to another world, and sometimes the stories they come up with are funny, cute, and very interesting. Take J.K. Rowling for example. She created the Harry Potter books that have become so famous that movies were made from her novels. Who would have thought someone could come up with such a wonderful world of wizards, witches, and flying cars? Have students create their own story from a scene that is presented.

• Create Your Own Story in Parts: Aliens in My Room - You wake and a bunch of glowing friends are looking at you... Again with the Aliens? Yeah, sorry about this one. It just popped into my head while writing the other one. Most kids like it a lot though.
• Zoo Writing Activity - You take a fictious trip to the zoo. Tell us all about it. We are going to throw a few situations your way too. We have you pretend that you take a trip to the zoo with a few family members and some friends. Situations arise and we ask you to tell us how you would handle them.
• Easter Story and Caption Contest - This one is alot of fun for the whole class. So be sure to check it out. This has two parts that are both related to the Easter Holiday. The first one is a class contest for coolest one sentence caption. The second page requires you to write a story based on a picture.
• Create Your Own Story: In the Field - We get a bit carried away with our UFOs again. UFOs! Yeah, we went there. What is our fascination with UFOs as of late? One of our writers lives in a town where they have the most reported UFO sightings in North America. Yes, they have a festival to celebrate and everything.
• Create Your Own Story: On the Boat - We have you draw a boat and then tell us a story all about it. We ask you to tell us about a scene that you draw on a boat. It is a little out there for some students, but we dig it!
• Bungee Jumping
• Climbing A Mountain
• Pie Burglar
• Piggy Delivery
• Running To Work

How to Plan to Write a Story?

Writing isn't an easy skill. It requires a lot of reading and practice to become a good writer. Are you frustrated because you are not able to write the perfect story? Are you struggling with words? Don't worry! You have come to the right place.

The first time doing something right results from the planning that goes behind it. This is especially true when you are attempting to write a story.

If you don't plan your thoughts, chances are your story will lack sequence and structure and may appear confusing to the reader. If you want your reader to be hooked from the very beginning, you need to invest the time to plan your story.

According to research conducted by a Ph.D. Candidate at SKEMA Business School, project success can largely be attributed to project planning. We can apply the same theory to writing. This research shows how planning is a major contributing factor to success. Hence, if you plan your story, it will likely be successful.

Some Helpful Tips for Planning to Write a Story (A Step-by-Step Guide)

If you're thinking of writing the perfect story or novel, we have just the tips that will help you accomplish your goals quickly.

There are two types of people in the creative writing community. Those who plan and plot out their story before starting (planner) and those who start and invent as they continue writing (pantser). One should be a combination of both. Neither should you entirely rely on your pre-written plan, and nor should you over-rely on your creativity.

Let's get into it then. Here are some basics that you need to be mindful of.

1. Brainstorm Ideas before starting

You can start by taking a piece of paper and making word clouds that will help you visually represent your thoughts.

You can also use online word cloud generators to do this that will make your life easier, but there is nothing more satisfying than organizing your thoughts and ideas with the power of a good pen and paper.

2. Develop a series of events

Once you have developed ideas for writing your novel, you need to organize them sequentially; for example, you should know when to introduce the story's main character and the events leading to perhaps the introduction of another character.

This doesn't have to be too detailed, but you should have a rough idea about where to begin your story and the events that follow.

A story that lacks structure can be too confusing for the reader, so you should invest as much time as you can in this. You don't want your reader to lose interest.

3. Decide the main character and give names to all the characters in your story

Every story has a main character around which everything is centered. All the events in your story have something to do with the main character - the star of the story.

The main character is always the most unique, so take your time and think about how to make him or her stand out.

They can either be a good or an evil character; it's entirely at your discretion. The main character is like the writer's muse, and more often than not, they are the reason why the writer is writing the story.

An example of a famous main character is Harry Potter from the Harry Potter series written by J.K Rowling.

So do justice to the main character! The trick is to draft the main character as such that

the whole audience falls in love with them, regardless of whether they are good or evil.

4. Establish clear goals with regards to the main character

Once you have given thought to who your main character will be, it is essential to think about goals.

There are two types of goals; External Goals that include the external forces around the main character, which is also a source of motivation for the character.

For example, in Disney Pixar's award-winning animated movie Finding Nemo, the primary motivation of Marlin (Nemo's dad) is to find Nemo at all costs. The other type of goals are Internal Goals, which are the intrinsic motivations of the character that cause them to behave the way they do.

5. Decide on the Setting

Once you have a clear idea about your main character, you need to decide where the sequence of events will occur.

Whether your story evolves in a small town or is entirely fictional like the Hogwarts School of Witchcraft and Wizardry in the Harry Potter series, you must decide this beforehand and think about all the details you need to provide the reader about the setting to tap their sensory perception.

6. Take inspiration from your favorite books and authors

Always be original with your ideas, thoughts, and writing, but there is no harm in taking inspiration from your favorite authors. You will learn a few great things from all of your favorite books. So, start reading!

7. Make your first draft in one sitting

The first draft of your story should be written in the shortest possible time, as this is a discovery process.

Imagine you are an archaeologist trying to find the remains of an ancient city. At this point, you only have an idea about where the city might be but no clue about what it will look like once it is unearthed.

So, speed up while writing the first draft of your story.

8. Gather feedback

It may be a good idea to ask someone to review your first draft. Getting another perspective will help you improve your writing and improve your storyline. There may be some things in your opening that you may have missed, which will help you identify the gaps in your work.

Remember that a strong opening is going to help gain the reader's interest from the very beginning.

It is essential to understand that writing skills take time to develop. You may have invested all the time in planning, but your first draft may not always come out perfect on the first attempt.

So, be patient and follow these planning steps to write your best story. Good luck and Happy Writing!

Story Writing Teacher Resources

• Picture Sentence Worksheets
• Teaching Ideas For Teaching Writing

✍️ 200+ Short Story Ideas (and How to Come Up With Your Own)

Are you ready to write but don’t know what to write about? Prepare to kick your writing into gear by browsing through our list of 200+ short story ideas. New prompts are added each week, and you can search by genre. But don’t let our categories stop you from putting your own spin on a writing prompt: if you find a short story idea tagged as sci-fi, but you think it would make a great romance plot, run with it! For tips on how to come up with your own story ideas, scroll to the bottom of the page.

We found 539 stories that match your search 🔦

A character who loves reading finds out that their library has just been forbidden from carrying banned books.

A character doesn't know how to break up with their partner, and keeps putting it off until the very moment that the partner bends down on one knee and proposes., subscribe to our prompts newsletter.

Curated writing inspriation delivered to your inbox each week.

One character wants a snake, but their roommate has a phobia. They adopt one anyway.

For years, four characters have met for a monthly card game. write a story in which one character realizes that another is cheating., you visited a psychic for romantic advice. instead, they tell you that your spouse has a secret., a character doesn't know how to ask their parent to stop calling them 2+ times a day., a pair of best friends realize they're two corners of a love triangle — they both have feelings for the same person., top 10 story ideas... just for you.

Want a story idea right away? No problem! Here are our top ten favorite story ideas for you to use:

• A group of villains go on a team-building retreat.
• You are granted one wish. But you have to use the wish for someone else.
• Instead of trying to get a man on the moon, every nation raced to be the first at the very bottom of the ocean.
• Money really does grow on trees and is heavily regulated by governments.
• A plane takes off with 81 passengers. It lands with 82.
• You are home alone watching TV. A character dials a number on their phone. Your phone rings.
• You open a fortune cookie at a Chinese restaurant. Inside is a handwritten note.
• A magician, a troll, and a college student walk into a bar.
• It is the year 3000. The sun starts to flicker.
• An optimist becomes a pessimist. Why?

Top 10 short story ideas... also for you! 

Everyone who writes short stories out there knows that short stories are different — and not just because they’re, well, shorter . So if you’re seeking a short story idea, we’ve got you. Here are our favorite bite-sized short story ideas:

• Turn one of your grandparent's old stories into fiction.
• A romance told through a series of texts.
• Two people are playing chess. One person can read minds, the other person can see the future.
• Write a story that draws from a moment in your life where you wish you'd made a different choice. Have your protagonist make that choice, and then see what happens.
• Amazon has invented time travel and introduced pre-emptive shipping. Today, you receive something completely unexpected from your future self.
• Write about the way the sunset looks from the perspective of two characters. One is sad, the other is happy.
• A wand-maker goes to the forest ready to work, only to find a group of environmentalists camped out in front of their favorite hemlock tree.
• Pick a genre and then write about a long walk home after school.
• The last person on earth celebrates their own birthday.
• A team of scientists have successfully teleported an apple. It reappears with a bite taken out of it.

How to come up with short story ideas yourself

We get it: writing prompts are an excellent resource, but you want to know how to come up with your own story ideas, maybe even for a longer project . Here are four of our go-to tricks when thinking of interesting things to write about.

1) People-watch:  Hands down, this our favourite way to come up with story ideas. All stories, even ones about robots or plants, have some element of humanity at its core. There are therefore a countless number of stories to be found by observing human nature. 90% of the prompts included in our writing prompts newsletter  are inspired by simply staring out a window and watching people go by.

2) Forget what you already know:  Have you ever become trapped in a “but why?” loop with a child? It’s enough to make your head spin or an existential crisis occur. But if you can return to this sense of curiosity and wondering you had as a child, you can find a treasure trove of short story ideas to be found. Take in your surroundings and ask yourself  why  things are the way they are.  What if  they were different?  What  would that look like and  how  would it work?

3) Use your day job:  If you feel like you have the most interesting job on the planet, well, perfect! It shouldn’t be hard to use it as plot-fodder for a great short story. On the other hand, if you find yourself yawning a lot at work, ask yourself:  What could happen to make this work day interesting?  Let’s say you work as a receptionist but your real passion lies with art. Write a story about a receptionist who sees a colleague hang a new piece of art in their cubicle — one the receptionist recognizes as being famous for going missing a century ago.

4) Read:  Imagine walking up to a piano and trying to make beautiful music without ever having heard it played before. You need to consume great short stories in order to know what you enjoy about them. Figure out what you like, and you’ll be on the path to great writing topics.

Ready to start submitting your short story to writing contests? Find the right one for you in our list of writing contests.

Looking for writing tips? Sign up for our free course How to Craft a Killer Short Story here .

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So, you've decided to write a short story! Many a published author got their starts from publishing short stories. It's the perfect medium for so many authors: succinct, clear, character-driven, and brief...

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Writing Stories Worksheets and Printables

In this summer writing prompt worksheet, children will describe a favorite summer memory.

In this summer writing prompt worksheet, children will describe a typical summer day.

Creative writing in your classroom

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Interactive fiction requires writers to think about different scenarios, paths and links between story chapters. Stories can also be illustrated with images and photos.

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Teachers can write stories too

Yes, teachers can create their own interactive fiction stories too. They can do this as an example to share with their students or just for fun.

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• How-To Guides

How To Write A Myth in 16 Steps With Examples

Have you ever wondered how ancient myths and legends were created? Fancied having a go at writing your own tall tale? Well, you’ve come to the right place! In this blog post, we’ll be walking through a simple 16-step process to teach you exactly how to write a myth from start to finish. From deciding on your mythological characters and settings to plotting your story arc and bringing it all to life with feedback and editing – we’ve got you covered. So if you’re ready to unleash your inner Homer or Aesop and try crafting your own mythical masterpiece, read on for a fun, easy-to-follow guide on how to write a myth that would make the ancient storytellers proud!

Types of Myths

Myths vs. legends, examples of famous myths, step 1: think of a theme, step 2: decide on the moral, step 3: incorporate symbolic elements, step 4: idea summary, step 5: character development, step 6: setting development, step 7: define the conflict, step 8: outline the beginning, step 9: plan the resolution, step 10: develop a plot outline, step 11: write the first draft, step 12: choose a title, step 13: edit and revise, step 14: seek feedback, step 15: final edit, step 16: publish and share, how do i write my own myth, what are the 5 elements of a myth, what is an example of a myth, how do myths start.

• What is an example of a kids' myth?

What is a Myth?

Myths are influential fictional stories that have been passed down for generations across different cultures. They have had enduring appeal as they often explore timeless themes about human existence – from birth and love to conflict and death. Myths also offer explanations about our world – why the sun rises, how different languages originated, and what happens after death.

While myths are fictional rather than factual accounts, for ancient civilizations they represented a reality grounded in their unique cultural contexts and belief systems. Myths helped shape worldviews, values and customs within these societies. Modern society may classify myths as fantasy , fairytales or legends but their imaginative power and symbolic meaning still resonates.

The fantastical elements in myths like all-powerful gods, mystical quests or monstrous beings capture our imagination. Talking animals and shape-shifting tricksters teach us moral lessons. Heroes overcoming epic trials represent the universal theme of the underdog defeating mighty opponents against the odds. Myths reveal both human flaws and virtues – jealousy and deception but also courage, ambition and redemption.

So myths continue to have significance and value. Their timeless quality means they can be reinterpreted to explore modern challenges – from ethical issues posed by technology to current social dynamics about gender and race. Myths also inspire contemporary pop culture through comic book heroes on quests to computer games built around mythic themes and imagery. Their metaphorical style adds depth to any form of storytelling across genres and mediums.

Myths come in many forms, serving distinct purposes across cultures and eras. Though myths may intertwine multiple elements, some main categories include:

• Creation Myths : Explain the origins of the universe, Earth, and humanity. They often involve gods, goddesses, or supernatural beings.
• Heroic Myths: Focus on the adventures and exploits of heroic figures. These myths often follow a hero’s journey , involving challenges, trials, and a transformation.
• Trickster Myths: Feature characters who are clever, mischievous, and often disrupt the natural order of things. The trickster figure challenges societal norms and brings about change.
• Etiological Myths: Explain the origins of customs, traditions, or natural features. These myths provide cultural explanations for certain practices or phenomena.
• Cosmogonic Myths: Similar to creation myths, cosmogonic myths address the origin and order of the cosmos, including the relationships between various celestial bodies.
• Didactic Myths: Also known as folktales or fables. Convey moral lessons or teachings. These myths often involve characters facing moral dilemmas and making choices that lead to consequences.
• Afterlife Myths: Explore beliefs about what happens after death. They may describe different realms, deities, or rituals associated with the afterlife.
• Eschatological myths: Focus on endings/destruction. Like flood or rapture myths depicting world catastrophes.
• Apocalyptic Myths: Envision the end of the world or a significant transformation of the existing order. They often involve prophecies, divine judgments, or catastrophic events.
• Liminal Myths: Focus on transitions or thresholds, such as rites of passage, initiation ceremonies, or rituals marking significant life changes.
• Ancestral Myths: Explain the origins of a particular people, tribe, or community. These myths often involve the creation of the first humans or the founding of a civilization.
• Deification Myths: Describe how certain individuals or beings become gods or achieve divine status. This may involve heroic deeds, ascension, or divine intervention.

This list covers some of the major types of myths recorded from civilizations worldwide based on their central themes and messages. The great diversity illustrates myth’s enduring capacity to both explain and explore the human condition in creative ways that still influence how we tell stories today across artistic mediums.

Myths and Legends share similarities in being tales passed down over generations that take on symbolic meaning. However, they have some distinct differences:

• Origins : Myths trace back to ancient oral storytelling traditions grounded in religion /spirituality. Legends originate from perceived historical events and may incorporate real people or places.
• Timeframes : Myths are set in ancient, timeless settings like the beginnings of Earth or humanity. Legends occur in knowable eras of antiquity but details remain unreliable or obscure.
• Characters : Myths utilize archetypal non-human characters like all-powerful gods, magical beasts or the forces of nature in human form. Legends may feature heroic human characters accomplishing exaggerated feats.
• Believability : Ancient societies often took myths as literal explanations of divine truths. Legends blur fact and fiction but don’t demand faith in the same way religious myths did.
• Functions : Myths cemented ideological belief systems and helped impart cultural values. Legends tend to inspire national/community pride in past heroes and events.

In essence, the distinction depends on whether supernatural, sacred narratives of myths give way to more grounded tales of extraordinary mortal exploits in legends.

There’s certainly overlap – legends borrow mythic tropes while myths may incorporate historical elements. But generally, myths emerge from faith and legends from memories of remarkable deeds. Evaluating the context and purpose behind fantastical tales illuminates how they spread and the significance they held.

Mythology has spawned countless captivating tales across ancient cultures that remain influential. Here are a few iconic myths and their significance:

• Icarus and Daedalus: In a Greek myth, there’s a skilled builder named Daedalus. He and his son, Icarus, were stuck on an island called Crete. To escape, Daedalus created wings using feathers and wax. He warned Icarus not to fly too high or too low. Excited, Icarus flew too close to the sun. The sun melted the wax on his wings, and he fell into the ocean and drowned. This story teaches us about the dangers of being overly ambitious without thinking. It also represents how humans strive for greatness and creativity.
• Thor vs the Midgard Serpent : In a Norse myth, there’s a big battle between Thor, the thunder god, and the enormous serpent called Jörmungandr. This happens before Ragnarök, a big event where the gods and the world are supposed to be destroyed. Thor goes fishing for the serpent using an ox-head as bait. He hooks the massive serpent, but even with his powerful belt and gloves, he can’t beat it before the line breaks, and he gets thrown backwards. This myth shows the constant struggle between opposing forces in the world, and how they balance each other through their fights for control.
• Pandora’s Box: In an ancient Greek story, there’s a woman named Pandora. The gods made her very beautiful and charming. She came with a sealed jar, and she was told not to open it. But Pandora couldn’t resist her curiosity and opened the jar. This let out all kinds of troubles like sorrow, sickness, and plague, which then affected people forever. The only thing left inside the jar was hope. This story tells us that even when faced with difficulties, people can still keep going with hope.
• The Buddha: In a story from Hindu and Buddhist traditions, there’s a prince named Siddhartha Gautama who later becomes the Buddha, which means the Awakened One. He leaves behind his comfortable life as a prince, including his wife and son, after seeing how much suffering exists in the world. He goes on a spiritual journey for many years, trying extreme ways to find enlightenment. After a simple meal, he sits under a tree and enters deep meditation. During this time, a demon named Mara tries to distract him with desires and fears, but the Buddha remains focused. He reaches a state called nirvana, gaining profound insights. The teachings of Buddhism come from these insights, suggesting that letting go of material desires and fixed ideas can free people from worldly sorrows. This myth shows that humans can transcend difficulties and reach a state of enlightenment.
• Hercules (Heracles): From Greek mythology Hercules, the son of Zeus and a mortal woman named Alcmena, faced a series of challenges known as the Twelve Labors as a punishment for a crime committed in a fit of madness. One of these labours was to clean the Augean stables, which housed an immense number of cattle and had not been cleaned for years. It seemed like an impossible task. Hercules, known for his strength, devised a clever plan. He redirected the rivers Alpheus and Peneus to flow through the stables, cleaning them in a single day. Despite his initial disbelief, King Augeas, who owned the stables, refused to honour his agreement to reward Hercules. This myth illustrates Hercules’ wit and problem-solving skills, showcasing that strength alone is not always the solution. It also highlights the theme of justice as Hercules faced an unfair situation and ultimately demonstrated his capabilities through intelligence and resourcefulness.

These represent just snippets of legendary tales full of symbolic details that have endured for millennia. They remind us of myth’s storytelling power – using fantasy and imagination to probe poignant universals that still compel audiences today.

How To Write A Myth in 16 Steps

Myths have charmed readers for millennia thanks to their imaginative worlds and timeless themes. If you want to join the ranks of storytellers like Homer, the Brothers Grimm, and J.R.R Tolkien, follow these 16 simple steps to learn how to write a myth:

Choosing a theme is the foundational step in crafting a myth. It involves selecting a fundamental concept, value, or message that will serve as the core focus of your narrative. Themes can range from love and courage to justice or any other overarching idea. This choice not only provides direction to your tale but also shapes the underlying philosophy that will resonate with your audience. Consider what profound concept you want to explore and what moral or lesson might emerge from it.

You might want to take a look at our collection of myth ideas for some inspiration on possible themes for your own myth.

Here is a list of common themes found in myths:

• Courage: Exploring the inner strength needed to face adversity and overcome fears.
• Love and Sacrifice: I nvestigating the transformative power of love and the sacrifices one might make for it.
• Justice and Redemption: Delving into the pursuit of justice and the possibility of redemption, even in the face of past mistakes.
• Wisdom and Knowledge: Uncovering the value of wisdom, knowledge, and the pursuit of understanding.
• Fate and Free Will: Examining the interplay between destiny and the choices individuals make, challenging the concept of fate.
• Friendship and Loyalty: Exploring the bonds of friendship and loyalty, and the challenges faced in maintaining them.
• Nature and Balance: Reflecting on the interconnectedness of nature and the importance of maintaining balance in the world.
• Perseverance and Resilience: Illustrating the power of persistence and resilience in the face of trials and tribulations.
• Forgiveness and Reconciliation: Focusing on the themes of forgiveness and reconciliation, exploring the healing power of letting go.
• Self-Discovery and Identity: Following characters on a journey of self-discovery, exploring questions of identity and purpose.
• Hope and Despair: Investigating the contrast between hope and despair, and the transformative impact of hope in challenging situations.
• Duty and Honour: Examining the concepts of duty and honour, and the conflicts that may arise when these principles are tested.

These themes provide a starting point for beginners, offering broad and profound concepts that can be explored in various ways within the structure of a myth. As a beginner, choose a theme that resonates with you and sparks your imagination. Remember, the theme is the soul of your myth, anchoring it with a deeper purpose beyond the surface narrative.

If your theme is “Courage,” your myth might revolve around characters facing daunting challenges and finding inner strength to overcome them. The theme of courage can be expressed through the characters’ actions, decisions, and personal growth throughout the mythic journey.

Once you’ve identified the theme of your myth, the next crucial step is to determine the moral or lesson you want your audience to take away from the narrative. The moral is the guiding principle or truth about living a good life that aligns with your chosen theme. This element gives depth and purpose to your myth, as it imparts meaning beyond the surface storyline.

Here are some key elements to consider in this step:

• Alignment with Theme: Ensure that the chosen moral resonates with and complements the theme you’ve selected. It should be a natural extension of the theme, reinforcing the central concept.
• Universal Applicability: Aim for a moral that possesses universal appeal, allowing readers to relate to and find personal relevance in the lessons imparted by your myth.
• Character Transformation: Consider how the moral will contribute to the transformation of your protagonist. The mythic journey often involves personal growth, and the moral serves as a compass guiding this transformation.

Deciding on the moral is crucial because it gives your myth a purpose beyond entertainment. It elevates the narrative to a realm of meaningful storytelling, allowing readers to connect with the characters and events on a deeper level. The moral provides a guiding light, shaping the overall message you wish to convey and leaving a lasting impact on those who engage with your myth.

Example:  

If your theme is “Courage,” your moral might be centred around the idea that true courage is found not in the absence of fear but in the face of it. This moral aligns with the theme and encourages readers to reflect on the nature of courage in their own lives.

Once you’ve established the theme and decided on the moral, the next step involves weaving symbolic elements into your myth. These elements can take various forms, including items, characters, colours, numbers, and more. Symbolism adds depth and layers of meaning to your story, enhancing its richness and reinforcing the themes and messages you wish to convey.

• Relevance to Theme and Moral: Ensure that the symbolic elements chosen are relevant to the theme and moral of your myth. They should enhance the narrative rather than feel forced or arbitrary.
• Metaphorical Representation: Symbolic elements often carry metaphorical meaning. Consider how they can represent deeper concepts, emotions, or aspects of the human experience.
• Consistency and Coherence: Maintain consistency in the use of symbolism throughout your myth. Symbolic elements should contribute to the overall narrative rather than feeling disjointed.
• Reader Engagement: Allow room for reader engagement with the symbolism. Some elements may be more clear, while others might be subtle, encouraging readers to interpret and discover meanings on their own.

Incorporating symbolic elements adds layers of meaning to your myth, making it a more immersive and thought-provoking experience for readers. Symbols have the power to evoke emotions, create connections between elements in the story, and reinforce the overarching themes. Well-executed symbolism enhances the myth’s impact, allowing readers to explore deeper levels of interpretation and engage with the narrative on a more profound level.

Example: 

For the theme of courage, you might incorporate a symbolic element like a Phoenix feather. The Phoenix, known for its mythical rebirth from its ashes, becomes a symbol of resilience and the ability to rise anew despite challenges. The feather, handed down through generations, represents the legacy of courage within a family or community. As characters face daunting trials, the presence of the Phoenix feather serves as a reminder that courage isn’t the absence of fear but the determination to confront and overcome it, emerging stronger on the other side. In this way, the Phoenix feather becomes a metaphorical representation of the theme, adding layers of meaning to the narrative and reinforcing the message about the nature of courage.

After establishing the theme, deciding on the moral, and incorporating symbolic elements, it’s time to create a concise idea summary for your myth. This summary serves as a condensed version of your myth, outlining the basic premise, main characters, central conflict, supernatural aspects, and the moral message in a paragraph or two.

• Protagonist and Basic Arc: Introduce the main character (or characters) and briefly outline their journey or character arc. What challenges do they face, and how do they evolve throughout the myth?
• Main Conflict: Identify the central conflict that drives the narrative forward. Is it a moral dilemma, a battle against dark forces, or a quest for self-discovery?
• Supernatural Aspects: If your myth involves supernatural or fantastical elements (common in many myths), provide a glimpse of these aspects. This could include gods, magical creatures, or enchanted objects.
• Moral Message: Summarize the moral or lesson that readers should take away from your myth. How does the protagonist’s journey and the resolution contribute to this message?

The idea summary serves as a roadmap for your myth, providing a clear and concise overview of its key elements. It acts as a guide for the subsequent steps, ensuring that your narrative remains focused on its core themes and messages. Additionally, having a well-defined idea summary can be a valuable tool for pitching or sharing your myth with others.

Aria, a young girl from the mystical land of Eldoria, finds an ancient prophecy about a looming darkness that will consume the world. She is chosen by the gods to stop it, armed with a Phoenix feather inherited from her ancestors. Along her perilous quest, she encounters mythical creatures and faces moral dilemmas that test her courage. She learns that courage is not the lack of fear, but the will to act despite it. In the final showdown, she faces the source of the darkness, a monstrous entity that feeds on fear. She musters all her courage and stabs the Phoenix feather into its core willing to sacrifice herself, triggering a massive blast of light and heat. The darkness is burned away, and the land is restored to its natural beauty.  She realizes that the Phoenix feather symbolizes courage, a powerful force that can overcome any evil.

Character development is a crucial aspect of crafting a compelling myth. In this step, you’ll outline your characters, delving into their backgrounds, motivations, flaws, and the growth they undergo throughout the mythic journey.

Here are the key components of developing characters:

• Protagonist : Introduce your main character—the protagonist—who will navigate the challenges of the myth. What makes them unique? What are their strengths and weaknesses?
• Backstories : Provide backgrounds for your characters. What events or experiences have shaped them into who they are at the beginning of the myth?
• Motivations : Explore the motivations driving your characters. What do they desire, fear, or hope to achieve? Motivations often propel characters forward in the face of adversity.
• Flaws : Characters with flaws are relatable and dynamic. What imperfections or internal struggles do your characters grapple with? How do these flaws contribute to their arcs?
• Character Arc : Consider how the challenges and trials of the myth will lead to the growth and transformation of your characters. What lessons will they learn, and how will they evolve?
• Supporting Characters: You should also consider introducing supporting characters who complement and challenge the protagonist. These characters can provide additional layers to the narrative and contribute to the growth of the protagonist.

Well-developed characters contribute to the emotional appeal of your myth. Readers connect with characters who feel real and undergo meaningful transformations. Character development adds depth, authenticity, and relatability to your narrative, making the myth more engaging and impactful.

• Aria is a young and determined girl from Eldoria. 
• Background: Her background reveals a lineage of courageous ancestors, instilling in her a sense of responsibility. 
• Weakness: Aria struggles with self-doubt and the fear of not living up to her family’s legacy. 
• Motivation : Her motivation stems from a deep desire to prove her courage and protect Eldoria from the impending darkness.
• Character Arc: As Aria faces mythical creatures and moral dilemmas, her flaws become apparent. She must confront her self-doubt and overcome her fear, learning that courage is not about being fearless but about acting despite fear. Through the challenges, Aria experiences significant character growth. By the end of the myth, she emerges as a resilient and self-assured individual, having discovered the true meaning of courage.
• Cyrus, a wise elder and mentor, becomes a pivotal supporting character in Aria’s journey. 
• Background: With a mysterious past tied to ancient prophecies, Cyrus possesses knowledge crucial to Eldoria’s survival. 
• Motivation: His motivations are rooted in a deep sense of duty to guide and protect the realm. 
• Weakness: Despite his wisdom, Cyrus grapples with a past mistake that haunts him, serving as a reminder that even the wise have imperfections.
• Character Arc: Throughout the myth, Cyrus serves as both guide and challenge to Aria. He imparts valuable lessons about courage, sacrifice, and the interconnectedness of all things. As Aria faces the trials ahead, Cyrus’s guidance becomes instrumental in her growth. In turn, Aria’s courage inspires Cyrus to confront his own lingering fears.

Setting development is the process of creating and detailing the world in which your myth unfolds. The setting encompasses not only the physical locations but also the cultural, historical, and magical elements that contribute to the overall atmosphere of the narrative.

Here are the key elements for this step:

• Primary Setting: Define the primary location or realm where the events of your myth take place. Is it a fantastical land, an ancient city, or a mythical kingdom? Consider the geography, climate, weather patterns , and overall ambience.
• Crucial Locations: Identify specific locations within the primary setting that play a key role in the narrative. These could be sacred sites, enchanted forests, mythical caves, or significant landmarks.
• Cultural Elements: Explore the cultural aspects of your setting. What beliefs, traditions, and customs shape the characters’ lives? Cultural elements add depth and authenticity to the world you’re creating.
• Historical Backstory: Develop a historical backstory for your setting. What events have shaped the world, and how do they influence the characters and conflicts in the present? A rich history can enhance the myth’s sense of depth.
• Magical Aspects: If your myth involves magic or supernatural elements, detail how these aspects manifest in the setting. Are there magical creatures, artefacts, or ley lines that influence the characters’ journeys?

Setting development establishes the backdrop against which your characters’ journeys unfold. A well-crafted setting immerses readers in the world of your myth, making it more striking and captivating. Additionally, the setting can influence the characters’ beliefs and actions, contributing to the overall atmosphere and thematic appeal of the narrative.

Eldoria, the mystical land in which our myth unfolds, is a realm steeped in magic and ancient prophecies. The primary setting consists of diverse landscapes, from sprawling enchanted forests to majestic mountain ranges. Eldoria is governed by the principles of balance, with natural forces and magical energies interwoven into the fabric of everyday life. Crucial locations include the Sacred Grove, where prophecies are whispered by ancient trees, and the Luminous Falls, a source of magical energy that sustains the land. The cultural elements of Eldoria centre around a deep reverence for nature and a belief in the interconnectedness of all living things. Eldorians celebrate seasonal festivals that honour the cycles of nature. The historical backstory reveals a time when Eldoria faced a similar threat of darkness, and a legendary hero emerged to restore balance. This hero’s legacy echoes through the ages, influencing the characters’ beliefs and motivations. Magical aspects include mythical creatures like the ethereal Moonlight Stags and the elusive Starlight Foxes, both guardians of ancient secrets.

In Step 7, you will define the central conflict that drives the narrative of your myth. The conflict is the driving force that moves the characters forward, creating tension, drama, and opportunities for growth. This step involves determining what challenges, obstacles, or moral dilemmas your characters will face as they embark on their mythic journey.

Here are the key elements of defining the conflict:

• Nature of the Conflict: Clearly state the central conflict that forms the core of your myth. Is it a physical threat, a moral dilemma, an internal struggle, or a combination of these elements? Define what the characters are up against.
• Stakes: Outline the stakes involved in the conflict. What is at risk if the characters fail to overcome the challenges they face? Stakes add urgency and significance to the narrative.
• Antagonistic Forces: Identify the antagonistic forces that oppose the protagonist. These could be external entities, internal struggles, or even the consequences of their own choices. Antagonistic forces create opposition and obstacles.
• Moral Complexity: If your conflict involves moral dilemmas, explore the ethical complexities surrounding the choices your characters must make. This adds depth and nuance to the narrative.

The conflict is the driving force behind your myth, shaping the characters’ journeys and providing a narrative arc. A well-defined conflict creates suspense, engages readers emotionally, and sets the stage for the characters’ growth and transformation. It establishes the challenges that must be overcome, making the myth compelling and resonant.

• Self-Doubt: Aria doubts her magical abilities, fearing that she lacks the strength to combat the darkness. This self-doubt hinders her from fully embracing her role as the chosen one.
• Moral Dilemmas: Aria encounters a village torn between two factions, each seeking her assistance. The moral dilemma forces her to choose between conflicting values, challenging her understanding of justice.
• Fear of Failure: Aria envisions the consequences of failing in her mission, haunted by the idea of Eldoria succumbing to eternal darkness. This fear propels her forward but also tests her resilience.
• Corrupted Mythical Creatures: Aria faces a once-gentle unicorn corrupted by the darkness. Overcoming the creature requires both physical combat and a demonstration of empathy to restore its purity.
• Monstrous Entity: The monstrous entity, fueled by fear, creates illusions that prey on Aria’s deepest fears. Overcoming this external threat demands Aria to confront her personal demons while battling the monster.
• Isolation: Aria finds herself alone in the eerie Whispering Woods, where shadows play tricks on the mind. The isolation intensifies her internal struggles and challenges her ability to trust her instincts.
• Environmental Hazards: Eldoria’s magical landscape shifts unpredictably, creating illusions and mirages. Aria must discern reality from illusion, adding an external layer of challenge to her journey.

In Step 8, you will outline the beginning scenes of your myth. This involves crafting the opening moments that introduce readers to the world, characters, and central conflict. The beginning sets the tone for the entire narrative, hooking readers and drawing them into the mythic journey.

Here are the key elements to consider:

• Introduction of the Protagonist: Establish the main character, providing essential details about their identity, background, and current situation. Create a connection between the protagonist and the readers.
• Introduction of the World: Describe the setting and the mystical elements of the world in which the myth takes place. Transport readers to a realm filled with magic, wonder, and potential challenges.
• Foreshadowing: Drop subtle hints or clues about the impending conflict or challenges the protagonist will face. Foreshadowing adds intrigue and anticipation, encouraging readers to delve deeper into the narrative.
• Establishing the Normal World: Present the protagonist’s everyday life before the call to adventure. This normal world provides a baseline against which readers can measure the transformative journey that lies ahead.
• Introduction of Key Elements: Introduce any key elements, symbols, or objects that will play a significant role in the myth. These elements may include magical artifacts, prophecies, or mythical creatures.

The beginning of the myth serves as the narrative’s foundation, establishing the characters, world, and conflict. A well-crafted beginning captivates readers, prompting them to invest emotionally in the protagonist’s journey. It also sets the stage for the transformation that will unfold as the myth progresses.

The myth begins with Aria, a young girl from Eldoria, going about her daily life in the quaint village of Lumara. The sun-dappled streets and the laughter of children provide a sense of the normal world. Aria is introduced as a relatable character, known for her kindness and curiosity. As Aria practices her magical abilities in a secluded grove, readers witness the first hint of foreshadowing—an ancient prophecy etched into the bark of an ancient tree. The words speak of a looming darkness and a chosen one who will stand against it. Aria, unaware of her destiny, continues her routine. The normal world is disrupted when mysterious shadows start encroaching on Eldoria. Aria witnesses the corruption of once-gentle creatures and feels an unexplained calling. The call to adventure begins as Aria discovers the Phoenix feather, a family heirloom that glows with newfound intensity. This sets the stage for her journey to confront the darkness and fulfil the prophecy.

In Step 9, you will plan the resolution of your myth. This step involves scripting the conclusion of the narrative, determining how the central conflict will be resolved, and outlining the fate of the characters. The resolution should bring closure to the story while imparting the moral lesson or universal truth you want readers to take away.

Here are the key elements of this step:

• Climax: Identify the highest point of tension in the story, often referred to as the climax. This is the moment of greatest conflict or confrontation between the protagonist and the antagonist.
• Resolution of the Central Conflict: Determine how the central conflict will be resolved. Will the protagonist succeed in overcoming the challenges, or will there be a tragic outcome? The resolution should align with the overarching theme of the myth.
• Character Arc Completion: Ensure that the resolution reflects the growth and transformation of the protagonist. Characters should undergo significant changes, learning important lessons or discovering newfound strengths.
• Impact on the World: Consider how the resolution will impact the world of the myth. Will there be a restoration of balance, a transformation of the realm, or a lasting change in the characters’ lives?
• Moral Message: Clarify the moral or universal truth that the resolution will convey. This is the lesson or insight that readers should take away from the mythic journey.

The resolution is the culmination of the mythic journey, providing a sense of closure and fulfilment. It is the moment where the themes, conflicts, and characters come together to deliver a powerful message. A well-planned resolution leaves a lasting impression on readers and reinforces the moral or universal truth embedded in the myth.

As Aria confronts the monstrous entity fueled by fear in the climactic showdown, the Phoenix feather becomes the key to the resolution. The entity, representing the embodiment of darkness, is relentless in its attempt to consume Aria’s courage. The climax unfolds as Aria, drawing strength from within, stabs the Phoenix feather into the entity’s core killing herself in the process. This courageous act triggers a blinding blast of light and intense heat, burning away the darkness that had threatened to engulf Eldoria. The world is restored to its natural beauty, and the once-corrupted mythical creatures regain their purity. Aria, however, is presumed dead in the aftermath. In a poignant twist, Aria’s soul emerges from the light, having absorbed the darkness into the Phoenix feather. Aria is transformed, now radiating with a brilliant glow like a phoenix rising from the ashes. Aria’s character arc is complete, as she learns that true courage involves self-sacrifice and that even the darkest aspects can be transformed into light. The resolution leaves a lasting impact on Eldoria, symbolizing the triumph of courage over fear. The realm is forever changed, and Aria’s sacrifice becomes a legendary tale told across generations.

In Step 10, you will develop a comprehensive plot outline for your myth. This involves mapping out the narrative structure, key events, and character developments from the beginning to the resolution. The plot outline serves as a roadmap, guiding your writing process and ensuring a coherent and engaging story.

Here are the key elements of outlining the plot:

• Hooking Opening: Craft an engaging opening that captures the readers’ attention and introduces the world of your myth. This could involve an intriguing event, a mysterious prophecy, or the introduction of a compelling character.
• Rising Action: Outline the series of events that build tension and propel the story forward. This includes challenges, conflicts, and discoveries that the protagonist faces on their journey.
• Climax: Identify the highest point of tension in the story, where the central conflict reaches its peak. The climax is a pivotal moment that often involves a confrontation between the protagonist and antagonist.
• Falling Action: Detail the events that follow the climax, showing the aftermath of the central conflict. This phase may include resolutions to secondary conflicts and the beginning of the resolution.
• Resolution: Script the conclusion of the narrative, bringing closure to the central conflict and showcasing the transformation of the characters and the world. The resolution should align with the overarching theme and moral message.

Developing a plot outline provides a structured framework for your myth, ensuring a cohesive and engaging narrative. It helps you visualize the entire story, identify key beats, and maintain a sense of direction throughout the writing process. A well-crafted plot outline serves as a valuable tool for both planning and executing a compelling mythic journey.

• Aria discovers an ancient prophecy foretelling a darkness threatening Eldoria.
• Introduction of Aria’s normal world in Lumara, a village filled with magical beings.
• Aria finds the Phoenix feather, setting her on the path of the chosen one.
• Encounters corrupted mythical creatures and faces moral dilemmas.
• Discovers the nature of the darkness and her role in stopping it.
• Confrontation with the monstrous entity fueled by fear.
• Aria’s self-sacrifice with the Phoenix feather to burn away the darkness.
• Eldoria transforms as the darkness recedes.
• Reveal of Aria’s presumed death and the impact on the realm.
• Aria’s soul emerges, transformed into a radiant figure
• Symbolic restoration of Eldoria’s purity and balance.
• The Phoenix feather becomes a beacon of courage and hope.

In Step 11, you embark on the actual writing process, crafting the first draft of your myth. This step involves translating your plot outline, character developments, and key themes into the myth. The primary goal is to get the narrative flow down on paper without obsessing over perfection.

Here are some elements to consider during this step:

• Follow the Plot Outline: Refer to the plot outline you developed in Step 10 as a guide. While writing, allow for creative detours if they enhance the narrative, but ensure that the core structure remains intact.
• Establish the Tone: Set the tone of your myth through your writing style. Consider the atmosphere you want to create—whether it’s mysterious, adventurous, or poignant—and infuse your story with appropriate language and imagery.
• Character Voices: Give each character a distinct voice and personality. Their dialogue, actions, and internal thoughts should align with their individual traits and arcs.
• Show, Don’t Tell : Use descriptive language to evoke vivid imagery and engage readers’ senses. Show character emotions, the magic of the world, and the impact of key events rather than simply stating them.
• Build Atmosphere: Create a rich and immersive atmosphere that draws readers into the mythical realm. Pay attention to the details of settings, sounds, and even the cultural nuances that contribute to the world-building.
• Maintain Consistency: Ensure consistency in character traits, world-building details, and the overall tone of the myth. This consistency enhances the believability of the fictional world.
• Embrace Creativity: Allow your imagination to flourish. Don’t be afraid to explore new ideas or unexpected twists that may enhance the narrative. The first draft is an opportunity to discover the full potential of your myth.
• Focus on Narrative Flow: Prioritize the narrative flow over perfection. The goal is to convey the essence of the story, and you’ll have opportunities for refinement in later editing stages.

Writing the first draft is a crucial step in bringing your myth to life. It allows you to explore the narrative in its raw form, discovering variations, character depths, and unexpected turns. The first draft is a creative space where you can experiment, refine your voice, and build the foundation for subsequent editing and polishing stages. It’s an exciting phase that captures the essence of your mythic journey.

Dawn’s rosy fingers stretched across the clear morning sky as Aria awoke, brimming with excitement for the Solstice Fair. She leaned out the window, drinking in the crisp air as the village of Lumara began to stir. Golden light spilled over the cobblestone streets below while the mouth-watering aroma of sweet cakes and pies drifted from the bustling bakery next door. After washing and dressing hurriedly, Aria bounced downstairs where her mother was brewing hot honey-mint tea. She wolfed down a still-warm spice bun, listening with half an ear as her mother fussed over the handwoven shawls they would sell at their fabric stall. The thrill of the annual fair left no room in Aria’s 12-year-old mind to focus on such mundane matters though. The whole village seemed infected by the frenetic energy as Aria skippered down the main thoroughfare. Everywhere colorful banners and Lantern flowers garlanded the buildings in preparation for the legendary nights of feasting ahead. Weaving through the crowds, Aria felt as if the very air tingled with festive magic. Her steps slowed as she passed the looming stone wall shrouded in emerald ivy that marked the edge of the Twilight Grove which held far greater enchantment for Aria than any Solstice Fair. The wall enclosed a forest clearing that called to Aria in a way she had never been able to explain…

Choosing a title is a crucial step in the myth-writing process. The title serves as the first impression and a guiding beacon for readers, encapsulating the essence of your myth. It should be graphic, intriguing, and reflective of the themes or central elements of the story.

Here are some key elements to consider during this step:

• Reflect the Essence: The title should capture the core theme, message, or unique elements of your myth. It should give readers a glimpse into what makes your story special.
• Evoke Emotion or Curiosity: A compelling title evokes emotion or piques curiosity. It should make potential readers want to explore the mythical world you’ve crafted.
• Avoid Spoilers: While the title should provide insight, avoid giving away major plot twists or spoilers. Maintain an element of mystery to engage readers.
• Consider Symbolism: If there are symbolic elements, key objects, or motifs in your myth, consider incorporating them into the title. This adds depth and intrigue.
• Clarity and Simplicity: Ensure that the title is clear and not overly complex. Simplicity can be powerful, making it easier for readers to remember and relate to.
• Check for Availability: Before finalizing the title, check for its availability. Ensure that it’s not already in extensive use by other works to avoid confusion.

Choosing a title is important because it serves as a gateway for readers to enter your mythical world. A well-crafted title not only attracts attention but also sets the tone for the narrative. It becomes a concise representation of the myth’s identity, making it memorable and inviting. The title is the first step in creating a connection between your story and its audience, drawing them into the enchanting realm you’ve created.

• Embers of the Eternal Phoenix

The title emphasizes the enduring nature of the Phoenix, suggesting a timeless quality to the myth. The use of “Embers” hints at both the fiery aspect and the remnants of ancient magic. “Embers” also evokes a sense of warmth and sparks curiosity about the Phoenix’s eternal flame, inviting readers to explore the myth’s mystical journey. The title maintains a level of intrigue without revealing specific plot details, leaving room for discovery within the narrative. It is also clear and concise, making it easy to remember while conveying the myth’s focus on the eternal aspect of the Phoenix.

Editing and revising are integral steps in refining your myth, enhancing its overall quality, and ensuring that it resonates effectively with your audience. This step involves a thorough examination of the narrative, language, character development, and overall coherence.

Here are the key elements of editing and revising:

• Language Refinement: Scrutinize the language used in your myth. Look for opportunities to elevate descriptions, choose graphic words, and create a more immersive reading experience. Ensure clarity and coherence in your sentences.
• Tighten Pacing: Evaluate the pacing of your myth. Ensure that the narrative flows smoothly, building tension where needed and allowing moments of reflection or revelation. Trim unnecessary details or scenes that may slow down the pace.
• Character Motivations and Development: Revisit your characters. Ensure that their motivations are clear, their actions align with their personalities, and their development arcs are compelling. Characters should feel authentic and contribute meaningfully to the story.
• Emotional Beats: Enhance emotional beats within the story. Whether it’s moments of triumph, tragedy, or self-discovery, make sure these emotional points resonate with readers. Readers should feel connected to the characters and invested in their journeys.
• World-Building Consistency: Check for consistency in your world-building. Ensure that the rules of the mythical world are adhered to and that details about locations, magical elements, and cultural elements remain coherent.
• Address Plot Gaps: Identify any plot gaps or inconsistencies. Make sure that the sequence of events is logical, and that resolutions align with the established conflicts. Fill in any gaps in the narrative that may leave readers confused.
• Balance Descriptive and Action Scenes: Strike a balance between descriptive scenes that establish the atmosphere and action scenes that drive the plot forward. Too much description without progression can lead to pacing issues.
• Check for Redundancy: Eliminate redundant or repetitive elements. Ensure that each scene, character trait, or piece of information contributes meaningfully to the overall narrative.
• Consistent Tone: Maintain a consistent tone throughout your myth. Ensure that the mood and atmosphere align with the themes you want to convey. Consistency enhances the immersive experience for readers.
• Grammar and Syntax: Pay attention to grammar, syntax, and punctuation. Correct any errors to ensure a polished and professional presentation of your myth.

Editing and revising are crucial steps that transform your initial draft into a polished and compelling myth. This process allows you to refine the language, tighten the narrative, and address any inconsistencies or weaknesses in the storytelling. Effective editing ensures that your myth engages readers, conveys its themes effectively, and leaves a lasting impression. It is an opportunity to elevate your work to its fullest potential before sharing it with a wider audience.

• Original Sentence: “Aria, feeling the Phoenix feather pulse, bravely uttered words she didn’t know she had.”
• Revised Sentence: “Feeling the pulsating warmth of the Phoenix feather, Aria courageously spoke words she never knew resided within her.”

Seeking feedback is a crucial phase in the myth-writing process. It involves sharing your work with others, gathering diverse perspectives, and gaining insights that can help improve and refine your narrative. Constructive feedback provides valuable guidance for enhancing your myth before its finalization.

Here are some elements to consider in this step

• Selecting Trusted Readers: Choose individuals whose opinions you value and who can provide constructive criticism. This could include fellow writers, beta readers, or individuals with an interest in mythology and storytelling.
• Ask Specific Questions: When sharing your myth, provide specific questions or areas you would like feedback on. This helps readers focus their feedback and ensures you receive insights into the aspects that matter most to you.
• Remaining Open-Minded: Approach feedback with an open mind. Be open to various perspectives and consider how different suggestions align with your vision for the myth. Remember that feedback is a tool for improvement, not a directive for rewriting.
• Balancing Positive and Constructive Feedback: Acknowledge both positive aspects and areas that need improvement. Positive feedback highlights strengths, while constructive criticism points to areas for refinement. A balanced perspective helps you build on what works well while addressing weaknesses.
• Multiple Rounds of Feedback: Consider gathering feedback in multiple rounds. Initial feedback can focus on broad aspects like plot and character development, while subsequent rounds can delve into finer details such as language and pacing.
• Implementing Changes Thoughtfully: After receiving feedback, take time to reflect on the suggestions. Decide which recommendations align with your creative vision and make changes thoughtfully. Not all feedback needs to be incorporated, and retaining your unique voice is crucial.

Feedback is a vital tool for refining your myth and ensuring it resonates with your intended audience. Other perspectives can highlight blind spots, offer fresh insights, and identify areas that might need clarification or expansion. Constructive feedback is a collaborative process that contributes to the overall quality of your myth, making it a more compelling and engaging narrative. Embracing feedback is an essential aspect of growth as a writer and contributes to the success of your myth when shared with a broader audience.

When sharing your myth with a trusted reader, you might ask specific questions such as the following:

• Did the beginning of the story grab your attention? Why or why not?
• What part of the story did you find the most exciting or interesting?
• Did you feel like you got to know the characters well? Who was your favourite, and why?
• Were there any characters whose actions or feelings you didn’t understand?
• Did the story move at a good pace, or were there parts that felt too slow or too fast?
• What was your favourite part of the story?
• Did the central conflict drive the tension effectively, and was it resolved satisfactorily?
• Were there any parts of the story where you felt confused or wanted to know more?
• Could you picture the magical world in your mind? Were there things you found confusing?
• Did you feel like you understood how the magic worked in the story?
• Did the language used in the myth enhance the storytelling, or were there areas where it could be improved?
• Were the descriptions of settings, characters, and magical elements detailed enough?
• Did you feel emotionally connected to the characters and their journeys? Were there specific moments that stood out emotionally?
• What do you think the story was trying to teach or tell you?
• Were the symbolic elements effectively woven into the narrative, or were they confusing?
• Were there unexpected twists or surprises that you enjoyed?
• Did you find any parts of the plot predictable, and if so, did it impact your enjoyment of the story?
• What did you enjoy most about the myth?
• Is there anything you think could be improved or expanded upon?

The Final Edit is the penultimate step in the process of crafting your myth. During this phase, you focus on thorough polishing, ensuring that your narrative is finely tuned, error-free, and ready to captivate your audience. The Final Edit involves both a macro and micro-level examination of your myth, addressing broader structural elements as well as minute details.

Here are the key elements to consider during this step:

• Flow and Pacing: Ensure the overall flow of your myth is smooth and engaging. Check that each scene transitions seamlessly to the next, maintaining a cohesive narrative rhythm.
• Consistency: Verify that your story maintains consistency in character traits, world-building rules, and any established magical or mythic elements.
• Word Choice: Carefully choose words that enhance the mood, tone, and imagery of your myth. Replace any repetitive or weak language with more vibrant and graphic alternatives.
• Sentence Structure: Vary sentence lengths and structures to maintain reader interest. Ensure clarity and avoid overly complex or complicated sentences.
• Dialogue : Review and refine character dialogues, ensuring they align with each character’s personality and contribute to the plot. Dialogue should feel natural and authentic.
• Character Consistency: Double-check that characters’ actions, motivations, and growth align with their established traits and arcs.
• Visual Imagery: Enhance descriptive elements to vividly paint scenes and characters in the reader’s mind. Engage the senses through rich, immersive details.
• Show, Don’t Tell: Where possible, use descriptive language to “show” the reader what’s happening, rather than simply “telling” them.
• Emotional Connection: Amplify emotional moments by fine-tuning language and expressions. Ensure that readers can connect with the characters on an emotional level.
• Pacing of Emotional Beats: Confirm that emotional peaks and valleys are well-paced, allowing readers to experience a range of feelings throughout the myth.
• Spelling and Grammar : Conduct a meticulous review for spelling and grammatical errors. Consider using grammar-checking tools, but also manually inspect the text for issues that automated tools might miss.
• Consistent Style: Ensure consistency in writing style, whether it’s formal, casual, or a blend of both.
• Clarity: Verify that the narrative is clear and easily comprehensible. Address any areas where confusion might arise.
• Readability for the Intended Audience: Consider the age group or demographic your myth targets and adjust language and complexity accordingly.
• Consistent Theme Weaving: Confirm that the chosen theme is consistently woven throughout the narrative. Every aspect of the myth should contribute to reinforcing the central theme.
• Author’s Vision: Evaluate whether the final draft aligns with your initial vision for the myth. Ensure that your unique voice and storytelling style shine through.
• Reader’s Experience: Consider how the myth will be perceived by readers. Aim to create an immersive and satisfying experience.

The Final Edit is crucial for presenting a polished and professional myth to your audience. It elevates the overall quality of your storytelling, providing readers with a seamless and enjoyable reading experience. This step is the last opportunity to catch any lingering issues and ensure your myth is ready for publication. The Final Edit reflects your commitment to delivering a well-crafted and thoughtful narrative to your audience.

Sunlight crept over the forested peaks, casting its golden glow over the sleepy village of Lumara. Aria stirred slowly from a night filled with vivid dreams of soaring over emerald treetops. As she rubbed the sleep from her eyes, the scent of baking bread and sweet honey-mint tea beckoned from the kitchen below. After changing out of her nightclothes, Aria drifted downstairs where dawn’s light streamed through the open windows. Her mother, Rhea, was stoking the brick oven’s dying embers while a kettle whistled on the stove.  “Good morning, my little owl,” said Rhea. “Ready for some cinnamon spice buns?” Aria seated herself at the hand-carved oak table as Rhea placed a hot mug of fragrant tea and two gooey pastries before her. Famished after her nighttime adventures in the dreaming world, Aria wasted no time devouring her treat. As she licked sticky cinnamon from her fingers, thoughts turned to the annual Solstice Fair which would flood Lumara with visitors and magic unlike any other day. “This year the fair will be more wondrous than ever before,” said Rhea, interrupting Aria’s delicious daydreams. There was joy but also solemnity in her mother’s voice which puzzled Aria. But before she could question it, a knock sounded at the front door…

Step 16 is the completion of your journey as a myth creator — it’s the moment you share your crafted tale with the world. This step involves taking the necessary actions to publish your myth, making it accessible to your intended audience. Here’s a breakdown of the key components within this step:

Here are the elements to consider:

• Choose Your Publishing Platform: Decide where and how you want to publish your myth. Options include traditional publishing through literary agents and publishers, or self-publishing through online platforms like Amazon Kindle or other e-book distributors. If you prefer a physical copy, consider print-on-demand services.
• Formatting and Presentation: Ensure your myth is formatted appropriately for the chosen publishing platform. Pay attention to font styles, page layouts, and any illustrations or images you plan to include. A polished and professional presentation enhances the reader’s experience.
• Cover Design: Create an eye-catching and relevant cover design. The cover is often the first thing potential readers notice, so it should reflect the essence of your myth and entice them to explore further. If you’re not artistically inclined, consider hiring a professional cover designer.
• Metadata and Descriptions: Craft compelling metadata and descriptions for your myth. This includes a concise and engaging book description, relevant keywords, and categories. This information is crucial for attracting the right audience and improving the discoverability of your myth.
• Distribution Channels: Decide whether you want to make your myth available exclusively on a single platform or distribute it widely across multiple channels. Each distribution choice has its advantages and considerations, so weigh them based on your goals.
• Marketing and Promotion: Develop a marketing strategy to promote your myth. Utilize social media, author websites, book blogs, and other platforms to build anticipation and reach potential readers. Consider offering promotional discounts or free giveaways to generate initial interest.
• Author Platform: If you haven’t already, establish an author platform. This could be a personal website, social media profiles, or an author page on platforms like Goodreads. An author platform helps you connect with readers and build a community around your work.
• Engage with Readers: Actively engage with readers who discover and read your myth. Respond to reviews, participate in discussions, and consider organizing virtual or local events. Building a connection with your audience can foster a loyal readership.
• Feedback and Iteration: Remain open to feedback from readers. Use constructive criticism to improve your future works and consider releasing updated editions of your myth based on valuable insights.
• Legal Considerations: Be aware of any legal considerations related to publishing, especially if you choose to use traditional publishing contracts or self-publishing platforms. Understand copyright, licensing, and any contractual agreements.
• Celebrate Your Achievement: Take a moment to celebrate the completion and publication of your myth. Whether it’s a personal accomplishment or the beginning of a larger writing career, acknowledge the effort and creativity you poured into your work.

Publishing and sharing your myth marks the end of your creative endeavour. This step transforms your narrative from a personal project to a piece of art meant to be experienced by others. Sharing your myth with the world allows you to connect with readers, receive feedback, and contribute to the rich tapestry of storytelling. Whether you aim for a wide readership or a niche audience, publishing and sharing are essential steps in the lifecycle of your myth.

Following this straightforward process on how to write a myth will have you conjuring up incredible lands and beloved characters in no time. Soon you’ll be weaving magical narratives that speak to universal truths and capture imaginations for generations to come.

Frequently Asked Questions 

If you want to try your hand at crafting an epic mythic tale, the good news is getting started is straightforward. While myths often deal with grand themes tied to a culture’s cosmology, at their core they relate compelling narratives about universal struggles facing heroes and gods.

The first step is to decide on the core concept or message you want to explore through allegory. Think of timeless ideas surrounding morality, the meaning of life, good vs evil. Themes of love, courage, justice, and temptation are mythic staples.

Next, build your wondrous setting and characters who will bring everything to life. Unleash your creativity when conceiving locations, magical elements, immortal beings and the hero’s adventure. Traditionally myths incorporate fantasy tropes like enchanted weapons, supernatural transformations and talking animals.

Outline the sequence of events from the Call to Adventure trigger that disrupts the known world to the climatic showdown. Follow conventions from famous myth cycles but put your unique spin to surprise audiences. Monitor the pace so stakes escalate as the tale builds to an epic showdown settling conflicts in a satisfying way.

While crafting memorable dialogue and vivid imagery, focus on imparting the moral perspective intended to guide mortals. Let symbolic motifs reinforce your themes of choice. Execute revisions until you have a tight, well-structured myth for the ages! Share printed or online and enjoy as readers lose themselves in this new compelling mini-universe.

Myths across cultures and time periods tend to share certain essential ingredients that capture the imagination. If you want to write a compelling mythic tale, make sure to incorporate these 5 essential elements:

• Supernatural Beings: Myths typically feature immortal gods, goddesses, magical creatures or humans with extraordinary abilities as characters. Their supernatural feats provide that sense of awe and wonder.
• Universal Themes: Fundamental, timeless concepts like love, courage, temptation, jealousy or the battle of good vs evil form the thematic backbone that gives myths appeal.
• Symbolic Elements: Metaphors and motifs like special objects, numbers, colours or seasons litter mythic narratives, representing abstract ideas related to their universal themes.
• Moral Lesson: A teaching or worldview on how mortals can live just, meaningful lives tend to be imparted. Myths establish cultural values.
• Heroic Journeys: The protagonist tends to embark on an adventurous quest or perilous journey of self-discovery that transforms them, allowing them to conquer whatever threatens their world.

By incorporating all these ingredients, you’ll craft a myth capable of enduring for generations as great iconic stories regularly do. So unleash your imagination and get writing!

One famous mythic tale which contains quintessential ingredients from across cultures is the ancient Greek story of Icarus and Daedalus. It features hubris, suspense, sorrow and a moral warning.

The tale goes that skilled inventor Daedalus fashioned wings made of feathers and wax for himself and his son Icarus to escape imprisonment, warning Icarus not to fly too close to the sun. But filled with exhilaration soaring above the azure sea, Icarus ignored his father’s warning and soared higher towards the sun’s warmth. The heat soon melted the wax binding his wings, and young Icarus plunged into the sea where he drowned.

The myth of Icarus incorporates gods, as the imprisonment was by King Minos to punish Daedalus for helping Minos’ wife give birth to the minotaur. It demonstrates man’s temptation to defy the gods and overreach. Beyond just entertainment, it imparts a moral about respecting limits placed on mortals. And it serves as an allegory for hubris or excessive pride leading to downfall.

With its familial love, suspense, tragedy and ominous warning, the legend of Icarus’ doomed flight remains impactful centuries later. All key traits of an unforgettable myth!

Myths take root in civilizations seeking to make sense of the mysteries of nature, life and death. So myths often originate as imaginative explanations of phenomena like storms, illness or conflict that frighten or confuse early humans lacking science.

Gods representing natural forces like thunder, the moon, fertility or the seas feature in nascent creation myths constructed to bring order through storytelling. Likewise, myths emerge accounting for the genesis of mankind and the cosmos featuring supernatural machinations. pantheons of gods, titans clashing or primordial cosmic eggs hatching all aim to elucidate existence.

Myths also arise from ancestors weaving fantastical histories that provide shared identity. Hence national epics like the Hindu Mahabharata or Anglo-Saxon legend Beowulf offer early tribes and dynasties storied lineage and famous deeds to rally around. Veritable characters gain superhuman qualities over centuries of oral retelling before being penned.

Often myths encode guidelines for living through the actions of deities, spirits, heroes and villains. Moral perspectives thus enter the collective consciousness. By dramatizing consequences for vice and virtues myths solidify proper codes of conduct around hospitality, war, infidelity etc.

So while methods differ, mythology always starts with imagination conjuring worlds that resonate enough to endure across generations. The rest is persistent retelling until myths become a tradition.

What is an example of a kids’ myth?

A delightful myth perfect for children is the story of the race between the tortoise and the hare. It’s a fable similar to Aesop’s animal tales, imparting a lesson in a child-friendly way that’s easy to grasp.

As the title suggests, a humble hard-shelled tortoise and an arrogant speedy hare have a contest to settle who’s faster. When they decide to race to a tree and back, the hare sprints ahead swiftly and then lies down napping certain she has won. But steady and determined, the tortoise passes the sleeping hare close to the tree to win while the hare awakes shocked learning a lesson in humility.

The simple story of the race incorporates fun personified animals children adore. It also has suspense – who will triumph? Children can absorb the moral of resilient perseverance defeating complacency or arrogance. And the visualization of a plodding tortoise improbably overtaking the speedy hare stays etched in memories.

So like the best children’s myths, “The Tortoise and the Hare” wraps the fundamental lesson of not underestimating others within an entertaining tale of a sporting rivalry that upset kids find uproariously satisfying. An enduring cautionary myth passed through generations.

We’ve covered the essential ingredients that go into crafting a memorable myth, from incorporating supernatural elements, symbols and heroic arcs to imparting profound themes or cultural values in imaginative ways. Now over to you aspiring myth-makers!

Whether you create a fantastical origin story for your favourite childhood toy or write a tragic saga extolling the virtues of perseverance like the tortoise fable, embrace your boundless creativity. As this guide on how to write a myth has shown, compelling mythology can emerge from any inspiring spark. Once you have brought your new addition to mythology to life through tireless writing and revision, share your remarkable tales far and wide.

Now, we want to hear from you! Have you embarked on your mythical odyssey, or are you inspired to begin one? Share your thoughts, ideas, or questions in the comments below.

Marty the wizard is the master of Imagine Forest. When he's not reading a ton of books or writing some of his own tales, he loves to be surrounded by the magical creatures that live in Imagine Forest. While living in his tree house he has devoted his time to helping children around the world with their writing skills and creativity.

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Graphic Novels in the Classroom

Types Of Graphic Novels

The term graphic novel indicates is a rich tapestry of storytelling, encompassing a wide array of genres and themes. Understanding the different types is key to appreciating the diversity of this medium. Broadly, the medium can be classified into two primary categories: nonfiction and fiction.

Why Teach with Graphic Novels?

More and more teachers are encouraging their students to read graphic novels as part of their standard ELA curriculum. However, they are still sometimes given a bad rap because they make people think of poorly written comics - rather than great literary works with visual representation. "Graphic novel" really just means "long picture story" or "a novel in comic-strip format" and are often of the highest literary quality!

Individual comic books, comics, or graphic novels are a type of format for literature, not a genre. They can be in the form of fiction, non-fiction, history, fantasy; the sky's the limit! They use both illustrations and words in sequence to tell a story. Although the terms are often used interchangeably, graphic novels are generally more complex, stand-alone stories while comic books evoke the superhero genre. Both include detailed character descriptions and narrative arcs that are depicted in visuals as well as words.

In the earliest grades, when young kids are still learning letters and building vocabulary, they are encouraged to draw during "Writer's Workshop". As students get older, they are given fewer and fewer opportunities to create illustrated stories, despite the fact that we live in a very visual world. Written skills are vital for college and the workplace, but images are as well. Social media, advertising, marketing, television, film, construction, engineering, and many more industries use imagery as a crucial part of their business.

Graphic Novel Project Ideas

New Kid by Jerry Craft and White Bird by R.J. Palacio , are examples of moving and thought provoking graphic novels taught at all levels. New Kid is popular for grades 3-6 while White Bird is often used in grades 4-7. The Great Gatsby by F. Scott Key Fitzgerald is a classic novel that has been taught in high school classrooms for decades. This version adapted by Fred Fordham and Aya Mortonmakes allows this complex work to become accessible to all students. The storyboard graphic novels below are just a few examples of what students can create!

This project is the perfect way for younger children and older kids to use their imaginations and write their own stories, summarize the plot of a graphic novel that they have read, or to have students transfer their knowledge of another piece of literature into a different form. Many popular novels have been turned into graphic novels to meet a broader audience and introduce students of all abilities to classic works of literature.

How to storyboard a graphic novel can be daunting. But, never fear! We have many organizers to choose from in our templates collection. Check out our versatile Graphic Novel Templates ! Remember, when giving your students an assignment in Storyboard That, you can add as many templates as you like to differentiate and provide student choice!

My point: Both images and words tell stories. Both images and words can tell great stories, on their own or together. Don't know how to make a comic book for a school project? These templates can help! Click on any of the storyboards below to be brought into the Creator to customize as you wish!

Exploring Graphic Fiction and Novel Examples

Creating a this type of writing requires a unique blend of narrative storytelling and visual artistry, making it a challenging yet rewarding creative process. How to create graphic novels that captivate readers and convey powerful narratives is a craft that many artists and writers strive to master, through a combination of storytelling finesse and artistic expression. Examples can serve as valuable guides, helping aspiring creators cultivate the skills and techniques needed to design their narratives effectively and engage readers visually.

• "Watchmen" by Alan Moore and Dave Gibbons is a quintessential example of graphic fiction, known for its intricate storytelling and thought-provoking exploration of complex characters and societal themes.
• "Fun Home" by Alison Bechdel and "Blankets" by Craig Thompson are both notable graphic memoir examples that artfully blend personal storytelling with the visual language of these novels, offering readers a unique and introspective experience.
• "Persepolis" by Marjane Satrapi is a compelling example of that beautifully combines storytelling and illustration to tell a personal and historical narrative.
• Another example that has had a profound impact on the medium is "Maus" by Art Spiegelman, known for its powerful storytelling and unique visual style.

Popular Graphic Novel Examples for High School

Long Way Down by Jason Reynolds deals with mature themes and is a powerful book to introduce to middle and high schoolers in grades 8-12. While New Kid and White Bird were originally written as graphic novels, Long Way Down was a novel written in verse that was later converted into this format by Jason Reynolds and Danica Novogorodoff. Many high school English teachers have been incorporating graphic novel project ideas into their curriculum. They have included these versions of literature as both a way to reach all readers and to enhance the original literary work with visual art! Teachers and students have been overjoyed to find many of the classics that are often taught in school are now available in such an engaging format.

The comic book storyboard example below showcases how students can use Storyboard That to demonstrate their understanding and analysis as well as their creativity for a book like Long Way Down . Using the creator, students can retell a story or create a storyboard of their own!

Literary works of all genres are being adapted into graphic novel form. Some other examples of classic novels that are perfect for high schoolers are:

• The Handmaid’s Tale : The Graphic Novel by Margaret Atwood and Renee Nault
• The Odyssey by Homer and Gareth Hinds
• To Kill a Mockingbird : A Graphic Novel by Harper Lee and Fred Fordham
• Jane by Charlotte Brontë, Aline Brosh McKenna, and Ramón K. Pérez
• Animal Farm by George Orwell and Odyr
• Kindred: A Graphic Novel Adaptation by Damian Duffy and Octavia Butler
• Speak: The Graphic Novel by Laurie Halse Anderson and Emily Carrol
• Dune: The Graphic Novel by Brian Herbert, Kevin Anderson, Frank Herbert, and Raul Allen

Powerful graphic story examples written for high school students and adults are:

• The Complete Maus by Art Spiegelman
• The Complete Persepolis by Marjane Satrapi
• Anya’s Ghost by Vera Brosgol
• I Was Their American Dream: A Graphic Memoir by Malaka Gharib
• Displacement by Kiku Hughes
• Hey Kiddo: How I Lost My Mother, Found My Father, and Dealt with Family Addiction by Jarrett J. Krosoczka
• March Trilogy by John Lewis, Andrew Aydin, L. Fury, and Nate Powell
• I Am Alfonso Jones by Tony Medina, John Jennings, and Stacey Robinson

Popular Graphic Novel Examples for Middle School

Some examples of popular literature turned into graphic novels that are perfect for middle schoolers are:

• The Graveyard Book by Neil Gaiman and P. Craig Russell
• The Giver : The Graphic Novel by Lois Lowry and P. Craig Russell
• Anne Frank's Diary : The Graphic Adaptation by Anne Frank, David Polonsky and Ari Folman

In addition, some examples for middle school include:

• They Called Us Enemy by George Takei, Justin Elsinger, Steven Scott, and Harmony Becker;
• Awkward by Svetlana Chmakova
• All’s Faire in Middle School by Victoria Jamieson
• Sunny Side Up by Jennifer L. Holm & Matthew Holm
• Real Friends by Shannon Hale and LeUyen Pham
• Nathan Hale’s Hazardous Tales by Nathan Hale
• The Witch Boy by Molly Knox Ostertag
• Smile, Drama, and Ghosts by Raina Telgemeier

These storyboards depicting the narrative arc of the story for The Giver and The Diary of Anne Frank are an engaging way for students to summarize the important parts of a story in graphic novel form.

Popular Graphic Novel Examples for Elementary School

An example of a classic book that was turned into a graphic novel that is compelling for upper elementary school is:

• A Wrinkle in Time : The Graphic Novel by Madeleine L'Engle and Hope Larson

More examples of award-winning graphic novel stories that elementary students love are:

• Smile by Raina Telgemeier
• El Deafo by Cece Bell
• Amulet by Kazu Kibuishi
• Bone by Jeff Smith
• New Kid by Jerry Craft
• Diary of a Wimpy Kid by Jeff Kinney is "hybrid" or cross between a typical novel and a graphic novel as it integrates drawings within the text.

Reading graphic novels with students and using these lesson plans in the classroom engages even the most reluctant readers. Once they are captivated, they will forget that they are reading a complex work of literature that encourages them to utliize their critical thinking skills! The copiable storyboards below depict examples of what a student could make if they were to turn A Wrinkle in Time or New Kid into their own graphic novel.

How to Make a Graphic Novel on Storyboard That

Exploring how to make a comic book for school projects can be a fun and educational endeavor, allowing students to combine their creativity and storytelling skills in a visually engaging format. The parts, such as panels, speech bubbles, and page layout, all play crucial roles in conveying the story and engaging the reader visually and narratively.

A graphic novel is not just a quick comic that can be told in a few cells, it's a longer narrative. So, that means lots and lots of pictures. However, pictures are not the only part of a graphic novel. Again: novel . While you may not be interested in having your students create hundreds of pages, short stories and modern adaptations of classic literature make an excellent graphic novel project. In addition to forming a plot, students still need to consider literary conflict, character development, themes, and a whole host of other literary elements.

True professional novel writing usually takes months, and more likely years, to complete. Graphic novels require the same writing process as any storytelling project. My example below is not a finished product, but it is a great start. Take a look at this quick guide to the writing process, so you and your students can get crackin'!

How to Plan a Graphic Novel Project

Graphic story writing engages all of the same critical thinking skills of classic pen to paper writing. It is important to help students brainstorm their story ideas by providing structured steps or scaffolding the assignment. Students can ask themselves: What is the story going to be about? What is the setting? Who are the main characters? Who are the supporting characters? What is the main conflict? What happens in the end? These are all important big ideas to think about when planning. Details come later, focus on the big picture.

Need some help? Check out the article on spider maps , our storyboard templates , the " Story Starters " activity, or create your own graphic organizer to plan!

You can make your own handy visual for the steps in the writing process like the one on the left using our How-To Infographic Templates !

Make a Draft

Drafting with a storyboard is a lot of fun! Any format can begin with a draft storyboard which is when your story really comes together. Take all those ideas and arrange them into a basic story structure. This could look very different for a graphic novel than a piece of straight writing. It might involve putting characters and/or scenes in the cells, but not customizing them. A handy trick with the Storyboard Creator is copying and moving cells. That way, you can add more cells in between other cells, copy cells and make slight changes, rearrange cell order, and more.

Drafts are supposed to be sketches of the final project, not the final story. The first draft and the published work could be miles apart - and that's fine. Don't try to get everything right the first time - it will only be frustrating. The draft is there just to get the ideas in a coherent (or not) order - to move into the shape of a story. It is not until all of the ideas are laid out before you that you can make sense of them and make them good!

You've got the basics. Now it is time for you to work in some magic: details, descriptions, new ideas, new angles, color, poses, speech bubbles, cropping, layering, customization... This is when you get to SEE your story unfolding.

Pro Tip: Copy the work you've already done. Save time by copying characters, scenes, and items that are already in your storyboard instead of looking for them again. That way, you will have the same color and/or filter choices selected. Copy entire cells if some things stay the same from frame to frame, especially if the action occurs in the same scene. You can still adjust everything to suit the needs of the new cell.

In the example storyboard below, the top row represents a very basic idea of what I want to happen in the story, or my draft. The bottom row shows what it might look like after I have solidified my story and started to make revisions and add details.

Revise Again

Yep. The revision stage can last a long time. Revising is my favorite part, but it is also the hardest part. Changing the hard work you have already put in might be difficult to take. That being said, I suggest having someone else look at your work during an optional peer-revision step . It is important that someone that doesn't have the story mapped out in their head can follow!

Check to make sure you have the colors you want, the cropping right, the transitions just how you want them. Are all the words spelled correctly? Do you have the right punctuation? Is the progression of cells clear to the reader?

Yes, you spent some time editing. Now is the time that you get that magnifying glass out. You might even want to have someone else proofread your work, since you have already gone over it many times.

Share your work in class or online. Storyboard That has several options to print your amazing graphic novel, too. There is nothing like holding a published piece of your work in your hand.

Add in video and audio for some amazing digital storytelling! Be sure to check out Storyboard That with PPT and More for more ideas on what to do with your masterpiece.

My First Chapter of Juniprix

Related Activities

How To Integrate Graphic Novels With Other Subjects In The Classroom Using Effective Cross-Curricular Connections

Choose the appropriate graphic novel.

Select a graphic novel that is appropriate for your subject area and grade level. Consider the themes and concepts that you want to teach and choose a graphic novel that aligns with your goals.

Plan The Cross-Curricular Connections

Identify specific connections between the graphic novel and other subjects. For example, a graphic novel about a historical event can be used to teach history, while a graphic novel about climate change can be used to teach science.

Introduce The Graphic Novel

Introduce the graphic novel to students and provide context for the subject area and themes that it explores. Preview the graphic novel and discuss any unfamiliar terminology or historical events.

Read And Analyze The Graphic Novel

Read the graphic novel with students and analyze it using specific critical thinking skills. For example, in a social studies class, students can analyze the author's use of imagery to convey historical events or the use of dialogue to develop characters.

Make Cross-Curricular Connections

Incorporate the cross-curricular connections that you planned into the lesson. For example, in a science class, students can analyze a graphic novel about climate change and use it as a springboard for a research project on the topic.

Assess Student Learning

Assess student learning using a variety of methods, such as a quiz, a written response, or a project. Provide feedback on student work and assess whether they have met the learning goals for the lesson.

Reflect On The Lesson

Reflect on the lesson and evaluate its effectiveness. Consider what worked well and what could be improved for next time. Make adjustments as needed to improve the integration of graphic novels with other subjects in the classroom.

Frequently Asked Questions about Graphic Novels

What is manga.

Manga is a style of comic books and graphic novels originating from Japan but embraced by readers worldwide. It is characterized by its black-and-white art style and iconic character design, featuring expressive, often large eyes. Manga encompasses a wide spectrum of genres, appealing to various age groups, and is typically serialized in magazines before being compiled into volumes. The reading direction is right-to-left, with different demographics like shonen for boys, shojo for girls, seinen for men, and josei for women. Manga artists often have unique styles, and popular series like "Naruto," "One Piece," and "Attack on Titan" have made manga a global phenomenon with a diverse and devoted fan base.

How do comic books differ from graphic novels?

Comic books and graphic novels are both sequential art forms, but they differ primarily in their format and content. Comic books are shorter, serialized publications, often with a stapled or saddle-stitched binding. They are typically part of an ongoing series and are generally shorter in length. Graphic novels, on the other hand, are longer, self-contained works with a more complex and extended narrative. They are often published as standalone books and cover a wider range of genres and subject matter, making them suitable for diverse readerships. While both mediums use illustrations and text to tell a story, graphic novels tend to offer more depth and sophistication in their storytelling, character development, and artistic quality, making them a distinct and respected form of literature within the realm of comics.

What are the key elements of a graphic novel?

Graphic novels, as a medium for storytelling, combine both visual and literary elements to convey a narrative. Some of the key elements that contribute to the structure and effectiveness of graphic novels are visual art, narrative structure, characters, text, layout, themes, design, and other genre-specific elements.

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Video: FlipBook

Transform your sketches from an old notebook and bring them back to life in a new form. Whether it’s a beautiful landscape or an energetic character – they can now move, hop, skip, jump, and enjoy their freedom of movement on the pages of Flipbook! And all of this is done by your hand only.

SIMPLE FRAME-BY-FRAME ANIMATIONS

With FlipBook’s help, you can bring to life every frame. With up to 50 frames for one project, you can adjust their replay speed to fit your artistic vision. And, in case you need a reference, there’s also ghost mode which allows you to take a look at the previous frame while you’re drawing. This canvas is yours to fill out - do you know what you’ll animate first?

YOUR ARTIST TOOL STASH

FlipBook offers a variety of four tools and 24 colors to help you bring all of your ideas to life. Switch between different brush sizes, go through the color palette, and make this animated canvas your own. You can also save your canvas at any point and finish it whenever you want to - in case a bigger project’s on the horizon!

Ready to start your adventure with frame-by-frame animation? If yes, here’s what will help you in this journey:

- Touchscreen support to help you create more precise animations

- 3 tools, an eraser, and 24 lovely colors to choose from while using a pencil, paintbrush, and spray

- Ghost mode for drawing more accurate frames

- Up to 50 frames per drawing

- Replay mode between 6-30 FPS to find the perfect speed

- From notebook doodles to basic frame-by-frame animations - this can be your first tool on the road to becoming a pro!

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There are three key parts of a healthy relationship—here’s how to build them

The trick is sticking to these values during arguments, say therapists

Open TikTok on any given day, and you’ll see video after video about spotting red flags and identifying toxic relationships. But, while your FYP might have you convinced otherwise, relationships aren’t always black and white. In fact, this sort of content can vastly oversimplify human beings (and relationships).

Sure, you might be able to look at some past relationships and identify them as good or bad ones. And there are cases in which someone is an abusive or manipulative partner, and it would serve you well to seek help and find a way to safely leave. But not everyone you date can be so easily categorised into one of two boxes: 'healthy' or 'toxic.' Many relationships fall somewhere in between. 'It is important to note that while there are some universals in what is a healthy relationship—such as being supportive and kind to each other—and what is toxic, there is a wide spectrum within those areas that is very personal to the people involved in the relationship,' says Patrice Le Goy , PhD, LMFT, a relationship therapist based in Los Angeles.

It’s also important to note that just because your relationship was once healthy, that doesn’t mean that your partner should have a get-out-of-jail-free card if they start showing some bad behaviours. 'A healthy relationship can become unhealthy. Over time, a lot can happen and a lot can change,' says Caitlin Cantor , LCSW, CST, a couples and sex therapist who sees clients in Philadelphia and New Jersey. '...Old traumas get triggered; new traumas happen; people get complacent; people get distracted. [A lot] can happen that leads a once healthy relationship to become unhealthy.'

But, a quote-unquote 'unhealthy' relationship isn’t necessarily doomed, either—emphasis on necessarily . While you should tread carefully and keep your own well-being at the forefront of your mind, it is possible to redirect the relationship with the appropriate help, and depending on the circumstances. 'Usually this would require both people to work on themselves in the relationship,' Cantor adds. 'Without getting professional help, it’s unlikely for an unhealthy relationship to become healthy. But with help, it’s possible.'

While there’s no such thing as a perfect relationship, you can (and should!) strive for a healthier one—even if you’re already in a good place with your partner. Ahead, relationship therapists lay out the fundamental hallmarks of what makes a solid, nourishing, and mutually beneficial bond, and how you can implement them in your own partnership.

There’s no one way to have a healthy relationship, but there are three key characteristics you should strive to cultivate.

A healthy relationship can look different within different dynamics (there’s no one-size-fits-all mold when it comes to dating!), but there are a few benchmarks to check off: trust, communication, respect. The basics! You need all three, says Jack Hazan , LMHC, CSAT, a relationship therapist in New York City.

The ability to trust your partner, and vice versa, is the number one way to maintain a healthy relationship. 'Trust and safety with your partner is integral,' Hazan says. 'This means not keeping secrets, maintaining a sense of security, and knowing they won’t physically, emotionally, or mentally hurt you.'

Respecting your S.O. while establishing that trust—and meeting them in the middle with mutual understanding and love—is also integral to ultimately making it work, and work well. Believe it or not, there is enough space in the relationship for both partner’s opinions, thoughts, and feelings (even if they don’t perfectly align) as long as you’re willing to listen and meet them halfway.

'People should feel that their partner will listen to them and take their concerns seriously when issues arise,' Le Goy says. 'So, if you bring up an issue with your partner and they are able to listen without defensiveness and look for solutions to the problem, that is a sign of a healthy relationship.'

Building that trust requires you to communicate, and communicate well —that is, effectively, kindly, and with respect. And while having that open line of communication with your significant other is what establishes a firm and solid foundation in the relationship, it’s often a slow and steady development. 'Consistency and communication build trust,' says Melissa Fulgieri, LCSW, a therapist and author of Couples Therapy Activity Book. 'You put in deposits in the form of doing what you say you will, being consistent, being kind, and you take withdrawals when you criticize, defend, shut your partner down, blame them, et cetera.'

Fights happen in every relationship—what matters is how you meet your partner in the middle to resolve those conflicts.

Even healthy relationships can be privy to arguments, mistakes, and judgment lapses. Your partner is bound to mess up every now and again, and so are you. The important piece is how you’ll work on it, move forward, and try to better yourself, for the sake of both the person you love and your own well-being.

For starters, leave your defensiveness at the door. 'It limits the opportunity to communicate to your partner that you hear their perspective, understand their perspective, and see it as valid,' Fulgieri says. 'If you are too busy defending your perspective, you miss an opportunity to connect with your partner, which can only come from your partner feeling heard and understood.'

If you and your partner are in a heated argument, take a beat before responding, says Le Goy. Speaking without thinking can harm the relationship even deeper. '[Take] a moment to consider your own behaviour and reactions,' she says. '[Consider] where those are coming from and if your reactions are appropriate to the current situation or if they are a byproduct of a past experience.'

While a healthy relationship doesn’t mean you won’t make mistakes, it is dependent on the ability to forgive and grow from those mistakes, says Hazan. 'That’s not to say you should forgive everything your partner does,' he clarifies. 'But being able to choose your battles and decide what’s worth forgiving is crucial.'

To foster a healthier relationship, try these tips.

Relationships are constant work, even if you consider your own on the healthier side of the sliding scale. It’s still important to rely on those pillars of trust, communication, and mutual respect. And while you can’t build that foundation overnight, there are ways to get there:

Meet with a therapist.

Even if you’re already in a relationship that feels solid, healthy, and full of trust and respect, couples therapy can help provide a space to work through any recurring conflicts. But if you’ve ever gotten in a bad argument and wondered how healthy your relationship really is, it’s definitely time to bring in an unbiased third party who can help with a little moderation. As a rule of thumb, 'if you think you need to start seeing a therapist for relationship issues, it’s probably time,' Hazan says.

Do your own work, too.

Whether you find yourself getting explosive in fights or triggered by your partner’s behavior (for instance, maybe they have a tendency to shut down when arguing), it’s possible that some of your tendencies are contributing to a lack of trust, communication, and respect. Sometimes, these issues might stem from your past (think: your parents, or an ex), so it’s important to understand them in order to move forward, says Le Goy. Therapy can be a great tool to help you unpack and heal from the patterns that might be holding your relationship back.

Stay open and communicate effectively during disagreements.

Jumping to conclusions, or jumping down your partner’s throat, is not going to benefit either person in an argument. Instead, practice patience, and remind yourself to give your partner the benefit of the doubt. A big part of effective communication is really listening to your S.O., and 'not shutting each other down nor shaming each other if someone is sharing something difficult with you,' Le Goy says.

Practice compromising and meeting each other halfway.

Put bluntly, your partner's feelings, beliefs, wants, and needs matter as much as yours—and in a healthy relationship, they should matter to you. While, frankly, no one is capable of meeting another person’s needs 100 percent of the time, you and your partner should both try to prioritise each other's feelings and desires as much as possible, says Cantor. Just remember that prioritising your partner's wants and needs doesn't look like abandoning your own; rather, it means listening, compromising when you can, and being attuned to your S.O.'s feelings, says Fulgieri.

Know when to call it quits.

Not every relationship should be saved—or can be, for that matter. Sometimes, you need to realize the healthy decision is actually to end the relationship altogether. 'If your partner is emotionally or physically abusive, gaslights you or demeans you, these are calendar signs of an unhealthy relationship,' Le Goy adds. There’s not always a way through these toxic situations, but rather, just a way out. Sometimes that’s the healthy choice—and the choice that will ultimately lead you into a genuinely healthy and safe relationship, too.

Meet the experts: Patrice Le Goy , PhD, LMFT, is a relationship therapist based in Los Angeles. Jack Hazan , LMHC, CSAT, is a relationship therapist in New York City. Caitlin Cantor , LCSW, CST, is a couples and sex therapist who sees clients in Philadelphia and New Jersey. Melissa Fulgieri , LCSW, is a therapist and the author of Couples Therapy Activity Book .

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Megan Schaltegger is an NYC-based writer. She loves strong coffee, eating her way through the Manhattan food scene, and her dog, Murray. She promises not to talk about herself in third person IRL.

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