DSP typically plans and produces six anthologies a year with a short story word count ranging from 5k to 15k words. Technically, there is no sole right way to write a short story, but there are a lot of wrong ways. However, we’ll focus on a couple of methods used to entice your reader and get them hooked on your story for the next twenty to forty pages.
Let’s assume you know the components for proper characterization, tension, theme, POV, etc. For a good short story, you only need to place heavy emphasis on two aspects of your story; a good hook and your scenes moving at a face pace toward the climax.
The hook is the opening line or scene to ensnare your reader. It’s a statement that makes them develop an interest in your story right off the bat. For a short story, you want them vested in your tale from the very beginning because you don’t have a lot of words to develop your character or theme. There are several easy ways to write a hook that will have your reader jump into your story; in media res, mystery, and disturbing.
In medias res means, “in the middle of the action”. Instead of starting out those teenagers having sex by the lake and then getting killed one-by-one by the psychopath in a hockey mask, you start the story with one of them running for his life while being chased by the psychopath. In my story, Malicyne’s Puzzle, the hook took place with a battle between a pirate ship and a naval frigate. Thela’s Angel started with poor Thela getting beaten to a pulp by her husband in the inn. Daughter of Darkness starts the story with the holy knight, Rhain, landing a killing blow through a demon lord’s heart in the temple of night elves dedicated to the worship of the Tri-Headed Queen.
Mystery is a very common mechanism. You start out with a profound statement or an enigma for your story. In my book, Fallen From the Stars, it opens with the following:
“Come with me.”
A gunshot rang out, followed by a woman’s scream and the world turned to utter darkness. That’s all I can remember.
Was the main character shot? What happened? Who said, “Come with me?” Readers don’t find out until Chapter 12 Bad Memories, but in a short story, you reveal the mystery of the hook usually at the climax or at the end.
Disturbing is a less common one but is great for grimdark fantasy, horror, or something in which you’re going for shock value. It makes your reader shout, “WTF did I just read?!?” and then they are compelled to read on just to figure out why you wrote that. The Disturbing method will typically contain triggers (again, for shock value).
A word of warning about using the Disturbing method – know your audience. If you’re a fantasy writer who typically writes YA epic fantasy and you want to try your hand at grimdark fantasy, your loyal fans are in for a rude awakening. Secondly, a lot of publishers have a “no graphic [anything]” rule (or rules on certain triggers in general), so don’t violate submission guidelines by writing something that will make people wonder if you’re sane or turn your editor off to you.
After you’ve written your hook, all your scenes following should be paced as if racing toward the climax. You’re not walking or building up to the climax, you’re running to it. A perfect example of how you should pace your story is by watching the promo trailer for Dragon Age: Origins. Here’s the link (Warning: Violence and Blood):
What did you see here if this was a story? An intrepid band of adventurers on a quest in monster-infested mountains filled with ice, snow, and death. There is the brief pause by the main character, a weapon is thrown from the ice and then boom, we are running through the action building up to the climax of the sorceress Morrigan casting a powerful lightning bolt that lays low the dragon. Did you note how fast the action moved and how it flowed from one character to the next? This is how your short story should flow from one scene to the next, and then building up to the climactic battle with the dragon at the end.
Master this and you’ll sweep your reader up for an intense ride with only a few thousand words.