Short Story Writing

Inspiration & Exploration

Short stories are one of the most powerful forms of writing — a great one can change how you see the world in under twenty minutes. Start by reading, not writing. Hit up your school library or the Salt Lake City Public Library (slcpl.org — free card for all SLC residents) and grab a short story collection. Try authors like Roald Dahl, Karen Russell, or Ted Chiang. As you read, keep a notebook nearby and jot down: one line that surprised you, one character detail you remember, and one moment where you felt something real. Good short stories are built on small, sharp observations about people. You're ready for the next step when you have notes on at least three stories you read, including what made each one stick.

Tools & Techniques

Short stories use a specific toolkit. Learn the core elements: character (who we follow), conflict (what they want versus what stops them), setting (where and when), and theme (the idea underneath it all). Study point of view: first person ("I"), second person ("you"), and third person ("she/he/they") each create a completely different reading experience. Pacing matters too — when do you slow down and when do you speed up? Free resources to explore: Reedsy has free short story courses at reedsy.com/learning, and the New Yorker posts many of its short fiction pieces free online at newyorker.com/fiction. Keep collecting story ideas in your notebook — a strange thing you noticed, a question you cannot answer, a "what if" scenario. You're ready for the next step when you can explain the difference between first- and third-person narration and describe the conflict in a story you read.

First Creations

Write your first complete short story. Keep it short: 500 to 800 words. Pick one character, one problem, one setting, and one moment of decision or change. Do not plan it to death — start with a character doing something and see where it goes. The first sentence matters more than anything else: it should pull a reader in immediately. Try starting in the middle of action rather than with backstory. Write the whole draft before you fix anything. Yes, the whole thing. Stopping to edit while you draft is the number one way writers never finish. Utah writers like Shannon Hale (who grew up in SLC) have talked about just getting the story out first. You're ready for the next step when you have a complete first draft, even a messy one, with a beginning, middle, and end.

Style Development

Every writer develops a voice — the specific rhythm of your sentences, the kinds of details you notice, the way your characters talk. Experiment deliberately. Write the same scene in two different voices: one minimalist and spare (short sentences, no extra words), one lush and detailed (long sentences, sensory details everywhere). Notice which feels more like you. Study dialogue: good dialogue sounds natural but is actually more focused than real conversation. Read your dialogue out loud — if it sounds stiff, people would not say it that way. Try writing a story set somewhere in Utah: the salt flats west of SLC, a canyon hike up Big Cottonwood, or a downtown SLC street in winter. Place gives stories texture. You're ready for the next step when you can identify two specific stylistic habits in your own writing.

Refine Your Craft

Revision is where stories actually get good. Print your draft and read it with a pen in hand. Mark every sentence where your attention drifted — that is where you cut or rewrite. Look for: unnecessary words ("very," "really," "just"), scenes that repeat information, and dialogue that explains too much. Learn the difference between line editing (fixing words and sentences) and structural editing (fixing the order and weight of scenes). Study how other writers revise: Stephen King's book On Writing (available at the SLC library) has a practical section on revision that changes how you see your drafts. Share your story with someone you trust and ask them specifically: where did you stop caring? You're ready for the next step when you have completed at least one full revision pass with specific changes documented.

Portfolio Piece

Write a polished short story — 800 to 1,500 words — that you are proud to share. This is your portfolio piece. Choose a subject you actually care about, because that caring shows in the writing. Build a character the reader roots for, give them an obstacle that matters, and end with a change — something is different now, even if only inside the character. Polish it through two full revisions. Then submit it somewhere: the Scholastic Art and Writing Awards (artandwriting.org) accepts short fiction from students across the country and has a strong track record of Utah winners. Utah Original Writing Competition (arts.utah.gov) also has student categories. You're ready for the next step when you have a final draft polished enough to submit to a competition or share publicly.