The Good Short Story Tips and Tricks: Hook and Pacing

DSP typically plans and produces six to twelve 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

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.

Pacing

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.

Happy writing!

When You’re Stuck On A Scene

As writers we all experience writer’s block. But nothing is more frustrating than when we are in the middle of an important scene and then, BOOM! The writer’s block strikes. And suddenly we find ourselves gently banging our heads against the desk, wondering when it will back. Getting stuck on a scene is not fun. I’ve come up with a couple ways of breaking through the writer’s block barrier:

Tip 1

Try writing the scene from the perspective of another character. Sometimes getting into the head of another character can give you a fresh perspective on your scene. 

Tip 2

Make a music playlist for the scene. Nothing helps get creativity flowing quite like music. If you use music to set the scene it might help you get through the writer’s block. I usually like to make a writing playlist ahead of time, specifically to try and get ahead of any potential writer’s block.

Tip 3

If you are artfully inclined, try sketching out the scene. Alternatively, if you’re like me and your artistic expression doesn’t range beyond stick figures then you can try making a mood board on Pinterest. Sometimes seeing a visual representation of our scene helps to get the creative juices flowing again. Alternatively, doing something creative can get us back into the writing frame of mind. 

Tip 4

Circle back to it and instead write the next scene. Just because you’re stuck on one scene in particular, that doesn’t mean that you can’t keep moving forward. Plus, this might help to get the flow going again.

Tip 5

Try writing in a different style or POV. 

Tip 6

Write the dialogue only. I really find this one particularly helpful. Sometimes we get stuck on a scene because we’re trying to set the scene with descriptions etc. But if we get the dialogue and character interactions down, we can then circle back and layer on the other elements afterwards.

Tip 7

If all else fails, get up and go for a walk, come back, make a hot cup of something, and then try again. This is my go-to solution when nothing else is working. 

What writer’s block solutions do you like to try when you’re stuck on a scene?

Writing Flashbacks

There are many ways that we can provide our audience with the information they need to follow along in a story. Many of us will use dialogue secondary characters to expose important tidbits of information that are integral to the plot.

However, sometimes another technique that can be used are flashbacks. These are moments within a story that take you back to specific moments within a character’s life. Flashbacks are not to be confused with simple memories. Memories can be summed up in a few sentences like “Alice held the melting ice cream cone in her hand, thinking back to the breakup. She hadn’t touched mint chocolate chip since.” Instead, flashbacks are a whole scene set in the past that takes your reader to that exact moment. And, flashbacks usually tend to expose something important. 

I had a professor in college once who described flashbacks as sort of like an “aha” moment for the reader. They are supposed to make something click in the story, whether it’s a key plot point or a breakthrough in character development. 

Since flashbacks are usually set in the past, they can be a little tricky to write as they can be jarring for the reader if not done correctly. That is why some writers tend to stay away from them. Personally, I love a good flashback. I think they’re great for giving readers very in-depth insight into a character’s origins. But flashbacks should be used sparingly – don’t include one in every single chapter or else you’ll end up with some very confused readers. 

The rule of thumb that I tend to follow for setting up a flashback is essentially what my college professor told me. She said keep them short and sweet. They don’t have to be any longer than a paragraph. And don’t use dreams as a way of setting up a flashback. It’s too cliché. Instead, she taught me to think of all flashbacks as being a doorway for your reader. While your character might be your reader’s guide, you still need something that will take your reader through that doorway. This has to be a trigger for your character to then open up that door. For example, that trigger could be the smell of lavender if your flashback is set in lavender field in the south of France. Or, perhaps a stack of dishes crashing to the floor in a busy restaurant can trigger your character to flashback to a traumatic moment in their past. Either way, it has to be something that will pull them into the flashback and then pull them out. 

So, if your character is an old woman harboring a secret about her eldest child not being her husband’s child but rather the product of an affair with a French lavender farmer, then you have two options. You can either expose it through dialogue or some other means like a found letter, etc., or you can reveal it during a flashback. If you decide that a flashback is how you want to expose the secret then you need a doorway. If the old woman smells the fresh lavender in her garden and thinks back to that wild summer in Provence, then she needs to come out of that flashback through the scent of lavender. If your character is escaping an abusive relationship and the sound of shattering plates takes them back to a really dark moment in their past, then those shattered plates need to bring them back to the present – that can be the scraping of the dishes being swept up or something like that. 

Flashbacks can seem intimidating to write, but they do add something unique to your writing. Are you pro flashbacks? Let me know!

Killing Characters

This seems to always be a divisive subject amongst writers. Some writers wouldn’t dream of killing off one of their characters, while other writers are more than happy to recreate their own versions of the infamous Red Wedding from Game of Thrones within their own works. Within the realm of fiction, character deaths can extend beyond just those of the villains. Side characters and even some main characters can be subject to meeting an untimely death. These are the characters that readers will mourn, especially if they happen to be a fan favorite. As writers, we know that not every character’s story can end in happily ever after. But killing characters can be a delicate art. You don’t want the death to be pointless, you want it to mean something. Below are somethings to keep in mind when you’re contemplating a potential character death. 

Positive Reasons to Kill a Character:

1) Kick off the inciting action or to reveal a hidden secret. Sometimes our main character needs to experience the death of another character in order to get them to begin the proverbial hero’s quest. But at the same time, you don’t want the death to come across as cheap writing or cliched. You want this to be meaningful to the plot. In order for the death to be meaningful to the story’s plot, ask yourself if this inciting action can be kicked off any other way? Or can this hidden secret that is integral to the plot, can that be discovered any other way? If not, then you can proceed with the character’s death.

2) To motivate other characters. Again, death can be a great motivator to both heroes and villains. But you don’t want it to be the sole purpose of their motivation, meaning don’t kill a character just to get your hero or villain started on the path of their character arc and development.

3) To highlight a universal truth within your story’s universe. Sometimes some character deaths have to be sacrificial for the greater good of the story. If death is the only way to highlight a universal truth in your story, then do it. Or if you’re writing a series and you get to a point where there is no other way to illustrate a continuing theme then use a character death. 

4) It’s the only logical way of ending a character arc. There are plenty of ways for your character to come full circle and grow. Death doesn’t always have to be the answer. However, there are times when it is the only answer. As the writer of the story, you will know if this is the only way of wrapping up a character’s arc. 

Negative Reasons to Kill a Character:

1) Solely for the purpose of shocking your audience. No, no, no. You will only make your fan base angry. Don’t alienate your fan base.

2) To start some drama. If you’re killing a character just to spice things up within your story, then you really need to re-evaluate your plot. There are definitely tons of other ways to shake things up without having to kill a character. My personal rule is if you feel your story needs something shocking like a death to save it, then you really need to start from scratch again. 

3) Just for the character development of someone else.Yes, sometimes either a hero’s backstory or even a villain’s backstory will include the death of someone close to them in order to get them started on their respective paths. However, killing a character just for the purpose of further developing another character is not necessary. You can achieve the same effect with a less tragic accident. For example, if your story is about two brothers who haven’t spoken in 10 years, you don’t need to reconcile them by having them lose their mom in a firey car crash. Simply having her hospitalized with a broken leg would be enough to get them back in town and have to face one another and eventually reconcile. You still achieve the character development but without the character death. 

4) You’re unsure how to further the character’s storyline. This more applies to minor characters who sometimes serve their purpose in a story, but then we, as writers, don’t know what to do with them. While the topic of what to do with minor characters after they’ve served their purpose is always up for debate, killing them off isn’t advised. It serves no purpose and if they happen to be a well-received minor character, this can end up angering the fandom. 

5) You don’t like them. We’ve all had characters that we don’t like in our stories. And I’m not necessarily talking about villains. Sometimes as writers we create minor characters or even major characters that, as we get into the writing process, come to find we don’t actually like writing them. Either they’re too boring, we’ve gotten sick of writing them, or we simply can’t connect with them. The easiest solution to this is to remove them all together from the story. Make it such that they’ve never existed within our story’s universe. Sometimes I have found that these characters I don’t like are simply in the wrong story and once I find where they fit, they work much better. I’ve also found that if a character is easily removable from the story, then they were irrelevant to it anyways. Of course, problematic characters aren’t always easily removable like this. Sometimes a character needs to be in a story but we, the writers, just can’t stand their story anymore. Don’t kill them off, find another less dramatic way of writing them out.

Author Interview with Ashley L. Hunt

Dragon Soul Press sat down to interview Fairytale Dragons Author Ashley L. Hunt.


  1. Where do you get your inspiration?

My inspiration comes from a lot of places. Sometimes it’s a way I had wished another story ended. Some of it is adventures I would have loved going on, if they were possible. (Anyone know where I can team up with a dragon?) Sometimes characters just form and they need places to go.

  1. When did you start writing?

I was very young, I remember that. When I was 3 or 4, my brother and I would get all our toys and we would send them on these long epic odyssey to reach a goal. I didn’t think to set my stories to paper until I was 9 or so.

  1. What does success mean to you? What is the definition of success?

Success to me is completing a task and getting some acknowledgement for it. It’s probably on the smaller scale of what success means to others, but it’s good for me.

  1. How much ‘world building’ takes place before you start writing?

It’s a little bit before and some after. I leave space to build as I go, but I have enough foundation for a solid world.

  1. Describe your perfect book hero or heroine.

A perfect book hero is someone who is flawed, someone who gets scared or isn’t always sure, but does their best anyway. For me, they need to do what they can to make the world better, and they learn a lesson on the way.

  1. What was the inspiration for the Fairytale Dragons story?

I’ve been studying fairy tales since I was a child and I absolutely love dragons. Cinderella is easy to mock because in today’s day and age she looks weak. It’s not fair because she was a brave and courageous young woman who stands up and she bears her part well. She deserves better and I hope I gave her that.

  1. What were the key challenges you faced when writing this story?

In the original, Cinderella is passive and docile. She reacts to the plot rather than inspiring it. The plot happens around her. So I had to give her an active role in the story. Her godmother is also this strange shadow in the background who shows up randomly then vanishes from the story again. (According to the French telling, she’s absent in the German and Italian) so an added challenge was to show a relationship with Cinderella and her godmother while giving her a reason to not help Cinderella.

  1. Who is your favorite author and why?

Favorite author is harder to pin because there are so many for a million different reasons. Madame Du’alnoy stands out among fairytale writers because she has a particular style to her writing that is rich but doesn’t bog down the story. My favorite book is the Wizard of Oz, by Lymen Frank Baum so of course he has a special place on.

  1. What was your dream job when you were younger?

I wanted to be a singer, but I can’t hold a note. My dog runs up to check if I’m dying.

  1. Where can readers learn more about you?

You can find me on Facebook.

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