
I mutter to myself, "Fiction, fiction, I have to write a piece of fiction." I look in the mirror as if into a crystal ball.
M sticks his head around the bathroom door, "What's that? Are you talking to me?"
"No," I say, "I'm talking to myself. My next piece for my writing course is a piece of fiction, a short story. And I don't know what to write."
"When's it due?" M asks.
"Early February."
"Ah, in two weeks."
Yes, I have two weeks to write a believable, interesting piece that never really happened.
A short story has structure and bare bones. I've been reading up on the bare bones part but it is giving life to those bones, surrounding them with muscle and tissue and providing blood to course through the veins that has me coming up dry.
I need to write a piece that reveals something about the character to the reader. It needs conflict and a resolution which the main character discovers for herself. Or will it be himself? What is the character's problem? Where will the complication come in or the conflict arise? How will it be resolved? These are the quality questions of a story. Questions that lie unanswered in my writer's mind.
My story needs a touch of urgency and drama. It needs to lead somewhere and have a purpose. The reader will want to come along for the narrative ride out of concern for my character (or will it be characters?) eager to see how things will turn out. And, of course, I learnt this in Grade 3; my story needs a beginning, middle and an end. Three sections to hold the three elements of my story: problem, complication, solution.
Okay, I think I've got that. Now how to get there? How will I colour it in? What will the meat be on these bones? I reach for Jon Franklin's book on the craft secrets of "Writing for Story". I flip to the chapter on how to stalk a short story. I stumble where he says that knowing the anatomy of a story won't make me a writer. Hardly helpful when right now I don't feel like a writer and the formula is all I seem to have a handle on.
My eyes flit through the pages which unlock secrets of story writing. Start with the complication; it's the easiest place to begin. Be on the lookout for a complication, stalk it in real-life, and ask a myraid of questions. Like an artist sketches on a pad, a writer sketches her stories on 3 x 5 cards or on a computer: moving scenarios around, adding in new ones, scratching out, deleting or removing poor fitting ones, all within the anatomy of the story.
A short story of 1,500 words doesn't give much creative room. It's got to be sharp and succinct. Simple, right?
I agree with Jon Franklin - Simplicity is deceptive.