Efnisyfirlit

• Title Page
• Copyright Page
• Contents
• Foreword
• Preface
• Part 1
• The history of the shortstory
• Further reading
• Crime, tricks and tales:genre and the short story
• The shorter end of shortstories – boundaries withpoetry
• Further reading
• Stories: those little slicesof life
• Discovering short stories
• Why write short stories?
• Where do stories come from?
• What is a short story?
• Reflections on writing andon books on writing
• Further reading
• Reflections on the what,when, how, why and whereof it for me
• When
• Why
• How
• How Tania Hershman achieved her dream and gota book
• How (2), what, when (2) and where
• Why (2): why do I write at all?
• What do I write?
• Further reading
• Reflections on the evolutionof a short story
• The evolution of a shortstory: ‘Under the Tree’
• First draft
• Second draft
• Third draft
• Fourth draft
• Permission and structure
• Fifth draft
• Sixth and seventh drafts and submission
• Summing up
• Further reading
• Reflections: permissionand risk
• Further reading
• Part 2
• On being brief
• Whose epiphany?
• On generosity
• Voice
• On short story endings
• On short stories
• Tension in fiction
• On the life and afterlife of the short story
• Short stories – ‘experimental’ shorts
• Other countries
• The experimental short story or experimentingwith the short story
• On short stories
• Setting
• Lost stories
• Katherine Mansfield
• The short story
• Judging the BBC National Short Story Award
• Tips and tales
• A paranoid vision
• Absence
• Part 3
• Editing and revising
• When to edit
• The sifting stage
• The writing
• The revision funnel
• Tenses
• Step into a world –thoughts on structure
• The story (real time)
• Plot (rearranged time)
• How do graphic novels use time?
• When does structure work best?
• Character and plot – the basic components ofscenes
• Writer’s tools
• Building a scene
• Structure and how to use it
• Use of breaks in text
• Sections
• Examples of experimental structure
• Further reading
• What gets left outand minimalism
• Traditional short stories
• What readers already know
• What readers don’t need to know but you do
• What readers need to know about in fantasticalstories
• Pre-empt and explain
• Show not tell
• Minimalist short stories
• Further reading
• Speaking their minds –character and voice
• What the character knows and feels
• Empathy and respect for your characters
• The components of characters
• Writing flash fiction,liberation throughconstraint
• Hint from Robert Shapard
• Hint from David Gaffney
• Definition from Tara Masih
• Advantages of writing flash fiction
• Effect of flash fiction on readers
• Liberation through constraint
• Exercises using constraints
• Further reading
• A brief history of time inthe short story
• Flashbacks
• Further reading
• Another perspective – pointof view in the story
• Key question 1
• Key question 2
• Choosing your view
• Voice and dialogue, usingscenes
• Why use dialogue?
• Using a narrator
• Experimenting andexperimental short stories
• The meaning of ‘experiment’ and ‘experimental’
• Examples of journals and presses specially forexperimental fiction
• Why experiment in short stories?
• Experiments with linear structure
• Playing with language
• Close reading of ‘BetweenMy Father and the King’ byJanet Frame
• Between My Father and the King
• Close reading of ‘BetweenMy Father and the King’ byJanet Frame
• Between My Father and the King
• Publishing short stories
• History of marketing short stories
• Today’s markets
• Magazines
• Radio stories
• Competitions and awards
• Multi-author anthologies
• Live lit events
• Dealing with rejection
• A few online resources
• Short story festivals
• Further reading
• Short story competitions– how to make your storystand out
• Harvesting – on writingyour collection
• What is a collection?
• Taking a break
• Why assemble a collection?
• Ways to interlink short stories
• Geography
• Single narrative
• Tradition
• A social group
• Tradition
• Short story collections –how do they work and howto get one published?
• Approaching a publisher
• Via established agents
• Via small publishers
• Enter story collection contests
• Tania’s experience
• Self-publishing
• Further reading
• 60 favourite short stories
• 50 favourite collections
• A note on craft andcritique : writing is not ademocracy
• Further reading
• From beginning to end
• Mining memory
• Finding the voice
• Plotting with holes
• Write what you see
• Endings
• How does viewpoint work?
• Where to start – ideas andinspiration
• Ways to find inspiration on your own
• Ways to find inspiration with others
• Online writing with friends
• Further reading
• Where to start: titles,beginnings and endings
• Openings
• Endings
• Tension
• Good endings
• Further reading
• Movement and syncopationin fiction : writing the longshort story
• Taking the journey
• Picking moments
• The difference between looking and seeing
• Movement creates anticipation, or delayedattacks
• Movement as communication
• Why?
• Working it out
• The push and pull – character vs plot
• Plot versus story – where’sthe tension?
• Further reading
• Bibliography
• The history of the short story
• Books – theory
• Early short story collections
• Short stories
• Articles in print and online
• Crime, tricks and tales: genre and the short story
• Books – theory
• Early short stories and collections
• Short stories and short story collections
• Novels
• Literary journals
• Articles in print and online
• The shorter end of short stories – boundaries withpoetry
• Books
• Articles in print and onli
• Stories: those little slices of life
• Books – theory
• Early short story collections
• Short stories and short story collections
• Novels
• Reflections on writing and on books on writing
• Books
• Reflections on the what, when, how, why andwhere of it for me
• Books
• Articles
• Reflections on the evolution of a short story
• Books – theory
• Short stories and short story collections
• The evolution of a short story: ‘Under the Tree’
• Books
• Journals
• Reflections: permission and risk
• Books
• A note on craft and critique: writing is not ademocracy
• Books
• From beginning to end
• Books – theory
• Short stories and short story collections
• Novels
• Where to start – ideas and inspiration
• Books
• Where to start: titles, beginnings and endings
• Books
• Short stories
• Movement and syncopation in fiction: writing thelong short story
• Books – theory
• Short stories and short story collections
• Plot versus story – where’s the tension?
• Books
• Editing and revising
• Books – theory
• Tenses
• Short stories
• Step into a world – thoughts on structure
• Books – theory
• Poetry, short stories and short story collections
• Structure and how to use it
• Short stories
• What gets left out and minimalism
• Articles
• Speaking their minds – character and voice
• Books – theory
• Writing flash fiction, liberation through constraint
• Articles
• Collections of flash fiction
• Books on flash fiction
• Journals
• A brief history of time in the short story
• Short stories
• Another perspective – point of view in the story
• Books – theory
• Novels
• Experimenting and experimental short stories
• Journals and publishers
• Publishing short stories
• Websites
• Articles
• Harvesting – on writing your collection
• Books – theory
• Early short story collections
• Short stories and short story collections
• Novels
• Short story collections – how do they work andhow to get one published?
• Index