
I spent much of my time in grad school trying to please a certain teacher and understand the secret formula for a short story.
Up until that time, I’d only written novels (or novellas), longer pieces of work in which I developed the characters and followed a plot. These felt full and complete.
Writing one small selection vexed me.
So I read and read and researched and attempted one time after another to create a successful short piece.
I suppose there is no formula and no one right answer, which is what I was looking for – the correct answer.
Of the things written in grad school, the one instructor I attempted to satisfy deemed them mostly unworthy.
It wasn’t until near the end of graduation that an instructor said “half of that story was the best he’d ever read.”
He didn’t tell me which half.
However, almost all those stories have been pulled out, dusted off, and accepted with few edits. Hence – dear teachers – they were good! I had learned something; I had accomplished something. (I must be doing something right, over 30 published in the last few years!)
There may not be one right answer, and there’s no secret, nor is there a hidden formula. Short stories need to get to a point, need to have conflict, need to show a budding of growth – perhaps.


I hear a number of writer’s ask about how to get inspired or keep inspiration. I think they’re confusing inspiration with motivation.
If you’ve reached a point in your story where you’re stuck, or perhaps some small thing is niggling at you, tell yourself what it is before you go to sleep.
Don’t read other words like a critic looking for the good, bad, and ugly. Read to discover what the author did well and how they did it.
I feel that it was these two classes, taken nearly at the same time, that subverted my point of view about stories I’ve known all my life. And I began to question things.

There’s nothing more helpful than having someone read your work and give you the fresh perspective needed to improve.
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