Starting to Write
Create a plot outline. It may help you get started with the writing of the story by sketching out a plot outline so you know what is going to occur in the story. Most writers avoid doing this as they do not want to feel limited by a plot outline. But if you are struggling to start your story, it may help to identify your protagonist, the setting of the story, and the events of the story. A plot outline should first address the story goal. This is something your protagonist would like to achieve and/or a problem she wants to resolve. This is also called the big "want" in the story, where your protagonist wants something from herself, another character, an institution, etc. A plot outline should also note the consequences for your protagonist if she does not achieve her goal. These are also called "the stakes of the story", where the protagonist will suffer in some way if she fails to reach her goal. Having high stakes in a story usually encourages a reader to stay engaged and care about the fate of your protagonist. If you're struggling, first look for your concept. Then, think about how that plot is going to work—and usually that involves structure and character, which usually go together.
Use a writing prompt. If you are struggling with an idea for your story, you can try using a writing prompt. Writing prompts can help to get your creative juices flowing and allow you to narrow your focus. They can also force you to write about something you may not have considered before or thought of on your own. Most writing prompts have a time limit (i.e., write about the prompt for five minutes). You can extend the time limit for the writing prompt if you feel it is helping you generate useful material for your story. You can also deviate from the writing prompt if your writing takes you in a different direction. The prompt should act as a way to get you started, but it should not feel restrictive or limiting in any way. A writing prompt can be anything from a phrase, such as "I remember..." to an image, such as "Imagine you are trapped in your childhood bedroom". You can also use a phrase from a favorite poem or a book, as well as a phrase from a favorite song. You can find a list of writing prompts at https://www.writersdigest.com/prompts Writer's Digest and https://www.dailyteachingtools.com/journal-writing-prompts.html Daily Teaching Tools. You can also try an online random https://writingexercises.co.uk/firstlinegenerator.php first line generator.
Identify your protagonist. Once you have written some raw material for the story, you should take a moment to read it over and see if a protagonist emerges. The protagonist is the character whose fate matters the most in the story. This does not necessarily mean your protagonist has to be a hero or pure evil. Your protagonist should be the character readers will care about or sympathize with the most, flaws and all. The protagonist also does not necessarily have to be the narrator of the story, but they should be the one making decisions that move the story forward. Your protagonist should drive the events that occur in the story and their fate should give the story meaning.
Try to write the basic story in one sitting. One method is to sit down and start with your basic story, writing down the details of the story in one sitting. This could be the crazy, amusing story you might tell a friend but are not sure how to translate into short story material. Getting down the raw data, or details of your story, can then allow you to shape it into a crafted piece later. Focus on simply telling the story and getting it down on the page. This could take you one hour or several hours. Pretend you are talking to a good friend and sharing the story with them over coffee. Avoid doing any outside research or reaching for information outside of the story you are telling. Try not to slow down to really think about certain sections or areas of the story. You will address any issues in the story once you reread it later.
Choosing Your Type of Beginning
Start in a scene. Many short story writers will try to start their stories in a scene, usually a scene that feels important and engaging. Starting in scene will hook the reader right away and ground them in the story. You should choose a scene that is essential to the main character or the narrator and shows them in action, doing something that will have consequences later or sets up the plot. For example, rather than start with, “Walter thinks the day will be the same as usual,” you may start with, “Walter wakes up from a bad dream and realizes that today will not be like any other day.” Though you may decide to use the past tense for your story, using the present tense will give the story a sense of urgency, which can help to propel the reader forward. For example, starting with “Today, I will rob a bank” may be more effective than “Yesterday, I robbed a bank”, as the present tense allows the action to unfold for the reader in real time. The reader gets access to the main event and experiences it with the characters.
Establish the setting. This type of beginning is useful if the setting of your story is essential and you want to establish a certain mood. Perhaps your story is not very plot heavy but it does have a distinct setting that you want the reader to get into right away. You may use a character’s perspective to describe the setting and focus on one detail that will be striking or interesting to the reader. For example, in the short story “Oceanic” by Greg Egan, the first lines focus on establishing the setting of being in a boat in the ocean: "The swell was gently lifting and lowering the boat. My breathing grew slower, falling into step with the creaking of the hull, until I could no longer tell the difference between the faint rhythmic motion of the cabin and the sensation of filling and emptying my lungs." Egan uses specific, sensory detail to give the reader a sense of sitting in the cabin of a boat and starts his story in a particular moment in time. Keep in mind you can also do scene setting later in the story if you do not want to start right away with setting. If theme or plot is more important to your story than setting, you may start with these elements first. You should still try to start your story in scene so your reader is engaged right away.
Introduce your narrator or main character. Another option is to start with a strong narrative voice or a strong description of your main character. This may be a good option for stories that are character-driven, rather than plot driven. Often, first person narratives will start with a voice driven opening line. You can show the reader how the narrator views the world and present their voice so the reader knows what to expect for the rest of the story. Though J.D. Salinger’s The Catcher in the Rye is a novel, not a short story, it has an opening line that establishes the narrative voice right away: “If you really want to hear about it, the first thing you’ll probably want to know is where I was born, and what my lousy childhood was like, and how my parents were occupied and all before they had me, and all that David Copperfield kind of crap, but I don’t feel like going into it, if you want to know the truth.” The narrator sounds sour and rough but he also draws you in with his frustrated view of the world and his disdain for traditional narratives. The narrator has a distinct perspective that gives the reader a good sense of what the rest of the story will sound like.
Open with a line of strong dialogue. Starting your story with a strong line of dialogue can be effective, but the dialogue should be easy to follow and to the point. As a general rule, dialogue in a story should always be doing more than one thing and never be there just for the sake of conversation. Good dialogue will reveal character and progress the story’s key events or plot. Many short stories will start with one line of dialogue and then zoom out to tell the reader who is speaking or where the speaker is situated within a scene. The dialogue is also usually spoken by a main character or one of the central characters in the story. For example, in Amy Hempel’s short story “In the Cemetery Where Al Jolson Was Buried”, the story begins with a striking line of dialogue: "Tell me things I won't mind forgetting," she said. "Make it useless stuff or skip it.” The reader is drawn into the story right away by the funny, strange dialogue and the presence of a “she”.
Present a minor conflict or mystery. A good opening sentence should raise questions in the reader’s mind, spotlighting a minor conflict or a mystery. This could be something as simple as a character considering a recent event and their reaction to the event or a more complex mystery, such as an unsolved murder or crime. Avoid presenting a mystery that is too big or confusing for the reader right away. Let the first line hint at a larger mystery and ease the reader into the conflict. For example,the opening line for Jackson’s short story “Elizabeth” raises several questions: “Just before the alarm went off she was lying in a hot sunny garden, with green lawns around her and stretching as far as she could see.” The reader wonders why the main character is dreaming about a hot sunny garden, what she is waking up for, and what the dream will mean later to the character. This is a minor conflict, but it can be an effective way to ease the reader into the larger themes or ideas in the story. If you're planning a mystery story, do some research into thinking about how thrillers work, and how mysteries work. One of the key elements is usually tension, and it's important to make it compelling from the beginning.
Editing Your Beginning
Read the beginning again once you reach the end of your story. Though you may think you have crafted a perfect opening for your story, you should revisit it once you are finished with the story to confirm it is successful. Sometimes, stories can change or shift the further you get into them and your brilliant beginning may not make as much sense as it once did. Read the beginning again within the context of the rest of the story and consider if it still fits. You may be able to tweak your opening lines to fit with the tone, mood, and voice of the rest of the story or you may need to write a new opening to better suit the story. You can always file away your old beginning for another story or a future project, especially if you think it is strong but just does not fit that particular story.
Tighten up the language. Your opening line should have no unnecessary words or phrases as this will lessen its impact on the reader. Look over your opening lines and make sure the language is powerful and as tight as it can be. Think about any cliche or familiar phrases you are using and replace them with more interesting terms. Remove any unnecessary description or go with a description that shows character and setting. You may notice that you are using weak verbs or adjectives in your first line that feel vague and nondescript. Replace them with strong verbs and adjectives so your first line makes a lasting impact and sets the bar high for the language and description in the rest of the story.
Show the beginning to an objective reader. It can be difficult to edit your own writing so be willing to show the beginning lines to a reader you trust. Consider showing your reader only the first line or first paragraph of the story and ask her if the opening makes her want to read the rest of the story. You should also ask her if she has a good sense of character or setting in the first line and any improvements she may suggest to make the beginning of the short story that much better.
Recognizing the Purpose of a Beginning
Keep in mind the role of the beginning of a short story. The opening lines of a short story are essential, as they will keep the reader engaged and interested enough to continue on. The first sentence or first paragraph often introduces the idea or situation that will be explored in the story. It should give the reader clear indications of tone, style, and voice. It may also tell the reader something about the characters and the plot of the story. Using Kurt Vonnegut’s rules for a short story, a popular reference for writers, you should always try to “start as close to the end as possible” in your opening lines. Place your reader right in the action as soon as you can so they are hooked into reading on. Often, editors will read the first several lines of a story to see if it’s worth reading to the end. Many short stories are selected for publication based on the strength of their opening line. This is why it is important that you consider how you can make an impact on the reader and make an impression with the first one to two lines.
Read example opening lines. To help you get a better sense of how to start your short story, you should read several example opening lines. Note how the writer draws the reader in and uses every word like it counts. Several examples include: “The first great act of love I ever witnessed was Split Lip bathing his handicapped daughter.” “Isabelle” by George Saunders. “When this story goes out into the world, I may become the most famous hermaphrodite in history.” “The Obscure Object” by Jeffrey Eugenides. “Just before the alarm went off she was lying in a hot sunny garden, with green lawns around her and stretching as far as she could see.” “Elizabeth” by Shirley Jackson.
Analyze the examples. Once you have read over the example opening lines, ask yourself several questions: How does the writer set the tone or mood? For example, the first line in Eugenides’ short story “The Obscure Object” introduces the narrator as a hermaphrodite and lets the reader know that the narrator’s life story is going to be told. It sets up a reflective mood, where the narrator relays their life as a famous hermaphrodite. How does the writer introduce key characters or setting? For example, Saunders’ first line in his short story “Isabelle” introduces a character named “Split Lip” as well as his handicapped daughter. It also provides a key theme of the story: love between father and daughter. Jackson’s first line in “Elizabeth” uses description and sensory details, like “hot sunny” and “green”, to paint a specific image in the reader’s mind. What are your expectations as a reader, based on the opening lines? A good first line will signal to the reader what they are in store for, and provide just enough information for the reader to be drawn into the story. The opening line in Saunders’ story, for example, lets the reader know that the story may be a bit quirky or strange, with a character named “Split Lip” and a handicapped girl. It is a bold opening that lets the reader know how the story is going to be narrated, with a unique narrative voice.
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