They must seem like living and feeling individuals in order for us to feel strongly about them The worst thing that could happen for is writer is that you feel indifferent toward the characters. Elf we don’t care for the characters, we are not inclined to keep reading. Actions or thoughts of the character. Conversations of other characters about a third character. Author’s own opinion. This might be overt, or may be implied. Points of View: Presentation of a Story Author Omniscient (all knowing, all seeing).
This is a third person point of view. The omniscient author, writing in third person, sees whatever he wants to see, inside or outside his character, in privacy or public, and interprets as he chooses. Author participant (first person). The author may be the main character, or could be a secondary character. Author as an observer (3rd, person). Involves objective treatment, as though the story teller had no inner sight into the character’s thinking or behavior. Multiple story tellers (3rd. Person). Theme The total meaning of the story.
In many cases, stories are packages that allow readers to see the outcomes of certain behaviors. Without a theme, the story lacks meaning or purpose. Sometimes the theme is stated, sometimes it is only implied. In other stories, the theme may be a direct refutation of a traditional theme. Elements and Characteristics of Short Stories Short stories tend to be less complex than novels. Usually, a short story will focus on only one incident, has a single plot, a single setting, a limited number of characters, and covers a short period of time.
In longer forms of fiction, stories tend to contain certain core elements of dramatic structure: exposition (the introduction of setting, situation and main characters); complication (the event of the story that introduces the conflict); rising action, crisis (the decisive moment for the protagonist and their commitment to a course of action); climax (the point of highest interest in terms of he conflict and the point of the story with the most action); resolution (the point of the story when the conflict is resolved); and moral.
Because of their short length, short stories may or may not follow this pattern. Some do not follow patterns at all. For example, modern short stories only occasionally have an exposition. More typical, though, is an abrupt beginning, with the story starting in the middle of the action. As with longer stories, plots of short stories also have a climax, crisis, or turning-point. However, the endings of many short stories are abrupt and open and may or may not eave a moral or practical lesson. Of course, as with any art form, the exact characteristics of a short story will vary by author.
Length determining what exactly separates a short story from longer fictional formats is problematic. A classic definition of a short story is that one should be able to be read it in one sitting, a point most notably made in Edgar Allan Pope’s essay “The Philosophy of Composition” (1846). Other definitions place the maximum word length at 7,500 words. In contemporary usage, the term short story most often refers to a work of fiction no longer than 20,000 words and no shorter than 1,000. Short Story Structure Create a narrative lead: show the main character in action, dialogue, or reaction. Introduce the main character’s character. Introduce the setting: the time place and relationships of the main character’s life. Introduce and develop the problem the main character is facing. Develop the plot and problem toward a climax: decision, action, conversation, or confrontation, or character: an acknowledgement of understanding of something, a decision, a course of action, regret. Develop a resolution: how does the main character come to terms – or not – with his or her problem?