Tag Archives: how to write a short story

July 14, 2025 · 6:00 am

Constructing the Short Story: theme #writing

I often find myself writing short pieces. These are scenes and mini stories that don’t really fit into a novel but are on my creative mind. Writing a short story gives me the chance to explore an idea that might be inspired by my longer work, but would muddy the waters if I included it there.

Many of my works are series, each set in a world of my creation. Writing short stories helps me develop that world. As a side benefit, it develops characters and plots I will definitely use later.

But what about stand-alone short stories? I usually submit them to contests, online magazines, and themed anthologies. The editor of the anthology ensures that each story she accepts explores an aspect of a single unifying theme.

And truthfully, having a theme to write to kickstarts my imagination.

According to Wikipedia:

A theme is not the same as the subject of a work. For example, the subject of Star Wars is ‘the battle for control of the galaxy between the Galactic Empire and the Rebel Alliance.’

The themes explored in the films might be “moral ambiguity” or “the conflict between technology and nature.” [1]

When we submit our manuscript to an editor with an open call for themed work, we must demonstrate our understanding of how the central theme can be manipulated to tell a story. Of course, engaging prose and a unique voice make a story stand out.

When you plan a story, analyze the theme. Look beyond the obvious tropes and find an original angle, and then go for it. As an author, most of my novels have been epic or medieval fantasy, based around the hero’s journey, detailing how their experiences shape the characters’ reactions and personal growth.

The hero’s journey is a theme that allows me to employ the sub-themes of brother/sisterhood and love of family.

Other layers of the story are strengthened when supported by a strong theme. Subtle use of allegory and imagery in set dressing can help strengthen the theme without beating the reader over the head.

In a story, the theme is introduced, either subtly or overtly, at the first plot point. If we’re writing a short story, this must happen on the first page. Most open calls for short stories require us to meet a specific word count. If so, lengthy lead-ins are not possible, as manuscripts that exceed the word count will be rejected.

I find it is easier to meet that wordcount when I know in advance how a story will end. I am a linear thinker, so I make an outline of my intended story arc.

  • I am an outliner, a planner, because when I “pants” it, I end up with a mushy plot that wanders all over the place and a story that isn’t commercially viable.

To create my outline, I divide my story arc into quarters. This ensures the critical events are in place at the right time. Then, I ask myself several questions about the story as I first imagine it. This will evolve, but it offers my creative mind a jumping off point.

  • What is the inciting incident? How does it relate to the theme?
  • What is the goal/objective? How does it relate to the theme?
  • At the beginning of the story, what does the hero want so badly that she will risk everything to acquire it? Why?
  • Who is the antagonist? What do they want and why?
  • What moral (or immoral) choice will our hero have to make? This is the real story, and how does it relate to the theme?
  • What is happening at the midpoint? Why does the antagonist have the upper hand?
  • At the ¾ point, my protagonist should have gathered her resources and be ready to face the antagonist. How can I choreograph that meeting?
  • How does the underlying theme affect every aspect of the protagonists’ evolution in this story?

I have mentioned before that in my own writing life, dumping too much background is my greatest first-draft challenge. Writing short stories has helped me find ways to write more concisely.

An outline keeps me on track. What is essential for the reader to know, and when should they learn it? What is just info for me to cut and save in the outtakes file?

Short stories follow a single event in a character’s life. Each word must advance that one story thread. Having your work beta read by your critique group will help you identify those places that need to be trimmed down.

I have close friends who see my work first and who help me see what the real story is before I bother my editor with it. My beta readers are published authors in my writing group.

Because I am a wordy writer, I have to keep in mind that (especially in a short story) every word is precious and must be used to the greatest effect. By shaving away the unneeded info in the short story, I can expand on the theme of the story and how it drives the plot.

Credits and Attributions:

Wikipedia contributors, ‘Theme (arts),’ Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Theme_(arts)&oldid=848540721(accessed July 12, 2025).

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March 24, 2021 · 6:00 am

Gaining readers through writing short stories #amwriting

We all want to gain readers. How do you, as an indie, get your name out there and gain awareness of your work? You earn your “street creds” by writing short stories and submitting them to magazines, anthologies, and contests.

Every time your short work is published or wins an award, you gain a little respect. You stand the chance of gaining fans, and it’s nice to have a little extra cash in your pocket.

Despite the changes in the publishing industry as a whole, writing short stories is still the way to increase your visibility. Reputable magazines that are SFWA approved are seeking submissions.

Submitting to contests is good too. If you have a story that was a contest winner, you may be able to sell it to the right publication. By doing this, you learn how to write to a specific length and theme.

I have a system for this. The following story has been used as an example here before. I wrote the original story for a 2015 contest with the theme of Truth and Consequences. The genre was epic fantasy, and the word limit was 2,000 words.

This meant my story had to adhere to that theme and word count, or it would not make the cut, no matter how well it was written.

My story was titled A Song Gone Wrong.

The Premise: Because he was a bit too specific when putting a local warlord’s fling with another man’s wife into song, our protagonist is now a wanted man. I had 2,000 words to show what happened.

I divided the story into four acts:

Act 1: the opening. I had 500 words to show these plot points:

  • Setting: the weather was unseasonably cold.
  • In an alley, a bard, Sebastian, hid from the soldiers of the lord he had humiliated.

My task in the first ¼ of the story was to introduce the protagonist so that his personality was clearly defined at the outset. I had to place him in the setting by showing the scents and sounds of his environment.

The theme, Truth and Consequences, had to be strongly shown throughout the story. Sebastian had told the truth and now faced consequences he was unprepared for.

My bard’s thoughts and observations were critical in this tale, but I had to be reasonable. At 2,000 words, I didn’t have a lot of room for mind wandering, especially in italics.

Another thing to consider was point of view—I went with first-person as I felt the protagonist could best show and interpret events and relate emotions while keeping to the number of words allotted.

Act 2: First plot point: I had 500 more words to show how:

  • The soldiers surrounded and captured Sebastian.
  • The irate lord threw him into prison and sentenced him to hang at dawn.

What Sebastian saw, smelled, and heard were the crucial means of showing the environment with a minimum of description from the first paragraph to the last.

Those noises and odors helped drive home the consequences part of the theme. Sebastian’s reactions told us a lot about who he was as a person.

So, where was this story going to go? I asked myself, “Does Sebastian regret being imprudent in mocking the nobleman, or does his punishment fire rebellion in him?” This was an opportunity for the circumstances to reveal his courage and still keep the plot moving forward.

I went with rebellion.

Act 3: Mid-point: I had 500 words to explain how:

  • Sebastian met a dwarf, Noli, also sentenced to die.
  • Noli was a member of an underground society trying to overthrow the current lord. He was on the verge of managing an escape, but time was short. He needed help with one last thing.
  • Noli and Sebastian managed to complete the escape route. Unfortunately, the guard seemed suspicious, hanging around their cell door, hampering their escape.

The whispered conversations between Noli and Sebastian gave us the background information. Noli had information Sebastian didn’t know.

This was the point when the reader also needed to know that information. Everything the reader already knew didn’t need repeating. Conversations were critical as they conveyed the personalities and the minimal backstory of the piece.

At this point, I set the final obstacle in their path.

This is where I have to emphasize one of my mantras: when writing to a strict word count limit, you must choose your words carefully. Find and use words that are strong and evocative, words that convey the most information concisely in one or two sentences.

Act 4: Resolution–I had 500 words to show how:

  • The smart guard was finally relieved by a less wary guard, which allowed Sebastian and Noli to squeeze through the escape route.
  • They were spotted at the last minute, but Noli’s friends were waiting, and they made their escape.

The fourth act is where you wind up the story and end it so that the reader feels satisfied. You hope they are left thinking about it, wondering what might have happened next.

Once you know how many words you are writing to and what must be done at what point within your story’s arc, you divide it into 3 or four acts. That is the way I structure most of my work.

This is true for any story, from 2000 to 20,000 to 200,000 words. Once you know the length a given tale must be, you can mentally divide it into acts and just write for fun.

I always outline short pieces that are intended for submission to contests, magazines, and anthologies. Magazines especially have strict parameters for what they accept, so you will have better success if you tailor that work to that particular publisher.

The contests and anthologies that are challenging to figure out are those whose guidelines tell you the theme but give you no indication of what genre they are looking for. You have no idea if the person reading your work prefers hard sci-fi or romance, so their personal preference can go against you.

That is a risk we all take. Remember, you have no control over what a prospective editor likes or dislikes. Rejections are more common than acceptance and shouldn’t be taken to heart. What one editor rejects, another will buy, so save it and submit it elsewhere.

Write short stories and only submit your best work. Expect to have them rejected and don’t take it personally. Turn them around and submit them elsewhere, because someone will accept it.

And always, always—celebrate the stories that you do sell.

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