This is Mary Robinette Kowal
She's a sci-fi writer who's won 4 Hugos, Locus awards, & the Nebula
I adore her short stories
In 2020, she gave a lecture in Brandon Sanderson's class on...
How to write short stories
🧵 My notes below ⤵️
She's a sci-fi writer who's won 4 Hugos, Locus awards, & the Nebula
I adore her short stories
In 2020, she gave a lecture in Brandon Sanderson's class on...
How to write short stories
🧵 My notes below ⤵️
1/ To check out Mary Robinette Kowal's lecture yourself, you can watch it here:
youtu.be
Here are my notes. Let's start with a few concepts:
youtu.be
Here are my notes. Let's start with a few concepts:
2/ Concept #1: Writing is fractal
Once you understand what works in one paragraph, you can scale it up to a chapter, scene, or five-volume monstrosity.
Once you understand what works in one paragraph, you can scale it up to a chapter, scene, or five-volume monstrosity.
3/ Concept #2: The difference b/w short stories & novels:
Short stories deliver a specific emotional punch. It's a quick fix.
Novels deliver immersion.
Short stories deliver a specific emotional punch. It's a quick fix.
Novels deliver immersion.
4/ Concept #3: The M.I.C.E. Quotient
(works for nonfiction too)
M - Milieu
I - Inquiry
C - Character
E - Event
Let's break down each one:
(works for nonfiction too)
M - Milieu
I - Inquiry
C - Character
E - Event
Let's break down each one:
5/ Milieu Stories:
Character enters a new space, and by the end of it, exits the space.
Conflict(s): difficulty navigating the place and getting out.
Character enters a new space, and by the end of it, exits the space.
Conflict(s): difficulty navigating the place and getting out.
6/ Inquiry Stories:
Character has a question, and must answer it by the end.
i.e. Mystery novels
Conflict(s): keep character from finding answer - lied to, misunderstanding, red herrings
Character has a question, and must answer it by the end.
i.e. Mystery novels
Conflict(s): keep character from finding answer - lied to, misunderstanding, red herrings
7/ Character Stories:
Character is angsty, and must overcome it by the end.
It's an identity shift. A transformation.
i.e. Romance, coming-of-age
Conflict(s): stop them! Give them self-loathing, have change backfire
Character is angsty, and must overcome it by the end.
It's an identity shift. A transformation.
i.e. Romance, coming-of-age
Conflict(s): stop them! Give them self-loathing, have change backfire
8/ Event Stories:
Status Quo is disrupted by external threat, and story ends when status quo restored. Action driven.
Conflict(s): Fight scenes, chases, explosions!
Status Quo is disrupted by external threat, and story ends when status quo restored. Action driven.
Conflict(s): Fight scenes, chases, explosions!
9/ Character = Interior
Event = External
Event = External
10/ You never have "single thread" stories that just use one of the MICE quotient.
Those stories are boring.
You use "multi-thread" stories.
Those stories are boring.
You use "multi-thread" stories.
11/ CONCEPT #4:
NESTED LOOP principle for stories:
<m> <i> </i> </m>
If you open a milieu, then an inquiry... you have to close the inquiry first, then the milieu.
NESTED LOOP principle for stories:
<m> <i> </i> </m>
If you open a milieu, then an inquiry... you have to close the inquiry first, then the milieu.
12/ e.g.
<c> Dorothy
<e> Tornado
<m> Enter Oz
<i> What do ruby slippers do?
</i> Slippers get you home
</m>Exit Oz
</e>Back in Kansa
</c>I didn't need to go further than backyard for adventure.
<c> Dorothy
<e> Tornado
<m> Enter Oz
<i> What do ruby slippers do?
</i> Slippers get you home
</m>Exit Oz
</e>Back in Kansa
</c>I didn't need to go further than backyard for adventure.
13/ When you feel like a story ends, and ends again, and again... it's because they're not closing the loops in order.
(*cough cough* Lord of the Rings)
(*cough cough* Lord of the Rings)
14/ The longer you stretch out one of these loops (like an elastic thread), the more tension you build.
When you close a loop and try to add another one, your story feels like it fizzled out.
When you close a loop and try to add another one, your story feels like it fizzled out.
15/ OKAY, so now we have some concepts down:
a. Writing is Fractal
b. Short Stories are "short emotional punches"
c. The MICE Quotient
d. Nested Loops
Let's write a 250-word story (aka flash fiction)
a. Writing is Fractal
b. Short Stories are "short emotional punches"
c. The MICE Quotient
d. Nested Loops
Let's write a 250-word story (aka flash fiction)
16/ Remember - if you can do write a 250-word flash fiction...
You can unpack it to a 5000 word short story...
Or a 15,000 word novelette...
Or a 60,000 word novella...
Or a 100,000 word novel
You can unpack it to a 5000 word short story...
Or a 15,000 word novelette...
Or a 60,000 word novella...
Or a 100,000 word novel
17/ THE OPENING:
Things you need to establish in the first 3 sentences:
• Who
• Where
• Genre
They don't have to be in that order. It's up to you.
Things you need to establish in the first 3 sentences:
• Who
• Where
• Genre
They don't have to be in that order. It's up to you.
18/ For location (where), link to a sensory detail instead of a vague, abstract concept.
Instead of: "She stood in the battleship's engine room"
Try: "The thrum of the battleship's engines resonated through her feet."
Instead of: "She stood in the battleship's engine room"
Try: "The thrum of the battleship's engines resonated through her feet."
19/ For character (who), use POV (point-of-view).
Use a "shorthand" in your head to keep your character's voice straight:
• sexist boss
• spunky pirate
• angsty teen
This gives your character an attitude that defines them.
Use a "shorthand" in your head to keep your character's voice straight:
• sexist boss
• spunky pirate
• angsty teen
This gives your character an attitude that defines them.
20/ Also give your character (who) an action.
What are they doing?
What are they doing?
21/ For genre - something specific and unique to establish fast.
OK - battleship's engine
Better - battleship's engine's warp speed core
Best - battleship's steam engine thru iron-clad walls
OK - battleship's engine
Better - battleship's engine's warp speed core
Best - battleship's steam engine thru iron-clad walls
22/ To summarize:
The first three sentences of your story:
• Character (who) = POV + an ACTION
• Location (where) = Link to sensory detail
• Genre = something specific/unique
Bonus points if you can do it in one sentence.
The first three sentences of your story:
• Character (who) = POV + an ACTION
• Location (where) = Link to sensory detail
• Genre = something specific/unique
Bonus points if you can do it in one sentence.
23/ Most writers cram TOO MUCH into a story.
For the purpose of this flash fiction exercise, you get 2 characters and 1 location only.
Why?
For the purpose of this flash fiction exercise, you get 2 characters and 1 location only.
Why?
24/ CONCEPT #5: Story Length Equation
L = (((C+S)750xM) / 1.5
L = Length
C = Character
S = Stage/Scene
M = MICE Thread
L = (((C+S)750xM) / 1.5
L = Length
C = Character
S = Stage/Scene
M = MICE Thread
25/ Every new character or scene adds at least 500-1000 words to your story.
Every time you add a new character or location, it eats up your "word budget".
Every time you add a new character or location, it eats up your "word budget".
26/ What's more -- Every MICE thread you add increases your story length b/c you need to close each loop properly.
2 threads = 33% longer
3 threads = 100% longer
4 threads = 167% longer
Why? b/c you want to "touch on" each thread in every scene.
2 threads = 33% longer
3 threads = 100% longer
4 threads = 167% longer
Why? b/c you want to "touch on" each thread in every scene.
27/ WARNING:
This is a DIAGNOSTIC TOOL. Do NOT write stories like this. You use this equation to EDIT stories to see where things went wrong.
(It's also not perfect. It's a rule-of-thumb.)
Moving on...
This is a DIAGNOSTIC TOOL. Do NOT write stories like this. You use this equation to EDIT stories to see where things went wrong.
(It's also not perfect. It's a rule-of-thumb.)
Moving on...
28/ Your 4th-5th sentence: Introduce conflict.
Character needs to TRY, then FAIL.
• What are they trying to do and why?
• What is stopping them?
Trick: Imply previous try-fail cycles to raise stakes.
Character needs to TRY, then FAIL.
• What are they trying to do and why?
• What is stopping them?
Trick: Imply previous try-fail cycles to raise stakes.
29/ You have five sentences now: who (pov+action), where, genre, conflict (try/why + what's stopping them).
Now take a pause and read it over.
Which MICE threads do you have?
Once again: Milieu, Inquiry, Character, Event
Now take a pause and read it over.
Which MICE threads do you have?
Once again: Milieu, Inquiry, Character, Event
30/ If you know what MICE threads you have, you know exactly what kind of conflicts to throw at them!
Milieu = stop them from entering
Inquiry = block them from answering
Character = make them unhappier
Event = make more things go wrong
Milieu = stop them from entering
Inquiry = block them from answering
Character = make them unhappier
Event = make more things go wrong
31/ When your character fails, they'll try another approach.
But your job is to knock them down again.
But your job is to knock them down again.
32/ Two ways to knock your characters down:
YES, BUT...
Yes, they succeeded, but there was a cost.
NO, AND...
No, they failed, and what's more, it got worse.
YES, BUT...
Yes, they succeeded, but there was a cost.
NO, AND...
No, they failed, and what's more, it got worse.
33/ e.g.
In ANH, Luke, Leia, Han, & Chewie are escaping from stormtroopers on the Death Star.
They jump down a chute. Did it work?
YES, BUT it's a garbage chute.
They shoot it with a blaster. Did it work?
NO, AND it wakes up a trash monster.
In ANH, Luke, Leia, Han, & Chewie are escaping from stormtroopers on the Death Star.
They jump down a chute. Did it work?
YES, BUT it's a garbage chute.
They shoot it with a blaster. Did it work?
NO, AND it wakes up a trash monster.
34/ For sentence 6-10: Give them a try-fail cycle.
• TRY something
• CONSEQUENCE (yes, but / no, and)
• REACTION
We are at the 67-75% mark.
• TRY something
• CONSEQUENCE (yes, but / no, and)
• REACTION
We are at the 67-75% mark.
35/ CONCEPT #6: The "Three Quarter Effect" from psychology
When you're at the 75% mark of doing something, people tend to think there's a lot more to do and give up.
At the 67-75% mark in your story, it's time to RESOLVE things. We need to start closing things.
When you're at the 75% mark of doing something, people tend to think there's a lot more to do and give up.
At the 67-75% mark in your story, it's time to RESOLVE things. We need to start closing things.
36/ We reverse the "yes, but" and "no, and" to...
YES AND...
Yes, they succeeded, and got extra bonuses.
NO BUT...
No, they failed, but they got something better.
YES AND...
Yes, they succeeded, and got extra bonuses.
NO BUT...
No, they failed, but they got something better.
37/ This next "try-fail" cycle then, must be a "try-succeed" cycle.
Write 5 sentences for this cycle.
Write 5 sentences for this cycle.
38/ OK, now the problem is solved, but that's NOT an ending.
Solving the problem alone is not satisfying.
You need to look at your MICE threads again; the first 3 sentences: who, where, genre.
Solving the problem alone is not satisfying.
You need to look at your MICE threads again; the first 3 sentences: who, where, genre.
39/ How can you show change in each one?
You create a mirroring effect.
Write your last 3 sentences.
You create a mirroring effect.
Write your last 3 sentences.
40/ Hurray! You have now written a complete story w/ a beginning, middle, and end
In ~18 sentences:
1-3: who (POV+action), where, genre
4-5: Conflict (try/why)
6-10: try-fail cycle (yes, but / no, and)
11-15: try-succeed cycle (yes, and / no, but)
16-18: Close MICE loops
In ~18 sentences:
1-3: who (POV+action), where, genre
4-5: Conflict (try/why)
6-10: try-fail cycle (yes, but / no, and)
11-15: try-succeed cycle (yes, and / no, but)
16-18: Close MICE loops
I hope you've found this thread helpful.
If you want more, follow me @colinyjchung and retweet the first tweet below to help others write better stories.
If you want more, follow me @colinyjchung and retweet the first tweet below to help others write better stories.
P.S. "Midnight Hour" is one of my favorite short stories by @MaryRobinette
You can check it out here:
uncannymagazine.com
You can check it out here:
uncannymagazine.com
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