How to write a short story in five sentences
Like most people who studied English Literature in college, I've fantasized about writing a novel one day. Over time that goal has, let's say, slimmed responsibly to fit its britches. These days I'm more interested in short stories, but in many ways the genre is just as challenging as its bigger-boned cousin.
For one, in a short story you can't hide behind flowery descriptions forever. Linger too long picking daisies in the meadow and your reader will abandon you. There are places to be and things to do. I'm one of those prose-crastinators (sorry). I would chew and chew the scenery because I just didn't know how to move my stories forward.
So I signed up for a short story class with a duration of only one week. It had to move quickly and get to the point. I think I needed a story scared out of me like a hen popping out an egg. To prime the pump, hopefully.
Anyway I did come out of the class with a short story. In fact, I had one by the end of the first day. If that sounds impossible then let me reel in your expectations of what qualifies as a short story. For the purposes of this class, it's a very specific thing: a series of tightly sequenced steps that lead from a beginning to an end (and result in some kind of change).
It's not unlike driving to the store. You take a left at the first light, go two blocks, turn right, etc. It may not be a "road trip" in the traditional sense, but it is a trip on a road (and you got your Cheetos). In the same way, this "short story" may not be what you're imagining, but it is a story that is short (and the knight slayed the dragon).
As a beginner I've got to start somewhere, so that's good enough for me.
It's a systematic process, which we tend not to associate with free flowing creativity. But much like the four or five chords we hear repeated in pop songs, it gives us a sturdy and battle-tested vehicle to ride on. Like a 1997 Toyota Corolla. Road trip!
Sentence 1: The set-up
The first sentence grounds the reader in place and time and introduces the major characters. It should include three things:
- Two characters
- A setting
- A problem
Example:
As the sea tossed the ship and threatened to swallow it whole, Turner and Terrance wrestled over a glowing jade figurine.
Characters: Turner and Terrance
Setting: A tumultuous sea
Problem: Fight over a jade figurine
Sentence 2: The propelling event
Start the action of the story. No daisy picking! This sentence should include:
- One of the characters trying to to solve the problem introduced in the first sentence.
- Notice the word "trying". A premature success would neutralize the tension. A failure or ambiguous outcome, on the other hand, raises the stakes.
Example:
“We must return it to the sea — to stop the storm, to save the ship!” Turner yelled, but Terrance only sneered and tightened his grip.
Problem: Continued fight over the jade figurine
Action: Turner tries (and fails) to reason with Terrance in order to end the struggle
Sentence 3: The escalation
Raise the stakes and start to create a pattern. This sentence should include:
- The other character taking their turn to try and solve the problem
- One of the characters revealing a secret!
Example:
He thrust Turner against the railing and said, “Don’t you see? I summoned this storm to destroy you, brother!”
Action: Terrance tries to shock Turner out of the fight
Secret: ...by revealing that he wishes Turner dead. (Bonus reveal to the reader: they're brothers)
Sentence 4: The climax
The turning point of the story and the biggest action of the plot. It's also where we break the try/fail pattern we've established. This sentence should include:
- One or both of the characters taking a final action to solve the problem one last time, producing a different outcome.
- Whether they succeed, fail, or create a different problem is up to you.
Example:
Turner went still with shock before letting out a terrible roar, tackling Terrance over the railing and sending them both into the swelling depths.
Final action: Turner tackles them both into the sea
Fail/succeed/etc?: Ends the fight by introducing a new problem for the men (drowning)
Sentence 5: The resolution
The main action of the story has been resolved. Highlight what has changed for the characters and reassert a sense of place. The final sentence should include:
- Mention the setting again
- Invoke one of the five senses (sight, taste, smell, etc.)
- Link back to the secret that was revealed
Example:
As the two men and the figurine drifted into the abyss, the salty air above slowed to a breeze, and it seemed that both of their wishes had been granted.
Setting: The sea (abyss)
Sense: Smell (salty air)
Secret: Bit of a stretch here, but the brothers' wishes were 1) Turner: save the ship, and 2) Terrance: destroy his brother (the secret).
Put it all together
As the sea tossed the ship and threatened to swallow it whole, Turner and Terrance wrestled over a glowing jade figurine. “We must return it to the sea — to stop the storm, to save the ship!” Turner yelled, but Terrance only sneered and tightened his grip. He thrust Turner against the railing and said, “Don’t you see? I summoned this storm to destroy you, brother!”
Turner went still with shock before letting out a terrible roar, tackling Terrance over the railing and sending them both into the swelling depths. As the two men and the figurine drifted into the abyss, the salty air above slowed to a breeze, and it seemed that both of their wishes had been granted.
And ...scene! I mean ...story!
Now, I didn't promise it would be profound or aesthetically pleasing — only that it would function as advertised. For anyone who's curious about writing fiction, I hope this makes the whole practice seem a little less lofty and mystical.
In the same way you can put together an IKEA table if you follow the steps (and don't mind some splinters), you can write a story.
Care to give it a try?