Writing Winning Entries in Short Fiction & Memoir: 7 Tips
Brought to you by Field of Words
Writing Winning Entries in Short Fiction and Memoir: 7 Tips
Prepared by Dr Eileen Herbert-Goodall Director of Field of Words, Field of Words Š 2018
Field of Words Contact Details: Email ~ entries@fieldofwords.com.au ~ https://www.facebook.com/fieldofwords/
Reputable writing competitions are worth entering for a few reasons. Whether you’re writing fiction or non-fiction, the process of entering competitions will constantly stretch you, helping ensure you’re producing and distributing your best work. When writing for competitions, you need to check that every single word is purposeful and in the right place. This process of reflection and critical analysis helps sharpens your ‘eye for detail’, which is a skill that all great writers are dedicated to honing. Entering writing competitions (and having success) is also a good way to build a portfolio of creative work. Of course, successful entrants often have their work published as well, so writing competitions are a great way for emerging writers to access readers around the world. Keep in mind that most competitions charge a submission or reading fee. Some competitions will publish top entries, others may not (such details will be in the competition guidelines/conditions). In any case, if you are named as a successful entrant, you should never have to pay to have your work distributed or published by the competition’s organisers. Beware of scam competitions and do your research. A quick Google search will usually alert you to anything dubious. There’s intense competition out there when it comes to seeking commendations (and possibly scoring a win) for your writing. Below you’ll find a few tips and pointers related to improving your chances of success in the creative writing awards field.
It’s essential to follow the rules of a writing competition. This means you need to stick to the word limit (it sounds obvious, but not everyone does it), follow formatting guidelines, deadlines (this sounds obvious too but, again, some people assume there’s a certain leeway when there’s usually not), etc. If you don’t follow the rules, then the competition organisers can (and probably will) disqualify you. Note that the organisers are not obliged to refund your money if you are disqualified for breaking the rules.
Successful competition entries rarely contain any errors. Again, this sounds self-evident, but it’s worth ramming the point home. Here at Field of Words,
we’ve
had
to
decline
providing
commendations to several writers due to the fact that their narrative/s contained a number of errors. It seems like such a waste to produce a great tale only to have it pulled down by a few oversights. It might seem like we’re being tough, but the reality is that errors and typos can seriously detract from a piece of writing, jarring readers and ultimately break the ‘reading dream’. If you’ve written a great piece, then it deserves thorough attention to detail. One of the best ways to ensure your work is error free is to allow enough time for the story or memoir to ‘cool’. This means you should try to put your work away for a while and return to it a few days or weeks later with a fresh and objective set of eyes. The distance you gain as a result of this process will help you spot errors and/or detect
sections of your work that might be over-written, superfluous, etc. In the writing field, accomplished craftsmanship requires a willingness to revise: the ego must be set aside. As Stephen King says, ‘Nobody gets it right the first time.’
Remember, having a friend or colleague proofread your work will also help to ensure that it’s error free. Reading your work aloud is also an effective editing strategy as it allows you to hear any errors that you fail to see.
Formatting
is also an area in which many emerging writers make errors. Judges may let a
few such mistakes go, but not many—the competition is simply too tough! The most important thing to remember when it comes to formatting is to be consistent (also check to see what formatting requirements might be specified by different competition). For instance, if you begin a piece using single rather than double inverted commas for dialogue, then stick to this—don’t change your formatting style partway through. One area where a lot of emerging writers fall down is the formatting of dialogue. Dialogue formatting follows certain rules or conventions that help readers understand who is speaking, as well as to distinguish between direct (spoken) dialogue and inner dialogue (thoughts). See the passage of prose on the next page for an example of correctly formatted dialogue:
Kelly entered the study where her husband was tapping away at his computer’s keyboard. ‘What are you doing?’ she asked. ‘Working.’ ‘On what?’ ‘A short story. I’m entering a competition that closes at midnight tonight.’ ‘That’s exciting.’ She leant against the doorframe. ‘Can I read it when you’re done?’ What if she hates it? ‘Bill?’ He looked up to meet her gaze. ‘You really want to read it?’ ‘Of course.’ What the heck. ‘Okay.’ He returned to tapping the keyboard. ‘I’ll call you when I’m done.’
Note that direct dialogue is placed inside inverted commas. The punctuation of direct dialogue goes inside the inverted commas. Also, it’s important to start a new paragraph for every new speaker (this enables readers to keep track of who’s speaking when). Note, too, the use of action as a means of attributing or ‘tagging’ dialogue instead of constantly using he or she ‘said’. Finally, a common approach is to use italics (not inverted commas) for thoughts.
Great stories and memoir usually have a theme (or themes) with which readers can connect. Theme can be a slippery concept to define, so let’s start with clarifying what it’s not. Theme is not what happens in a story (which would be its plot), or the subject of a
story (which would be its topic). Rather, it’s the angle a writer chooses to cast on a topic, or—to put it another way—the exploration of a topic within a certain discourse, or set of values. Think of it this way: the topic of a story may be war, while its theme might be the futile wastage associated with war. A narrative’s theme is usually conveyed in subtle ways—through action, dialogue, symbolism, literary allusions, a narrator’s perceptions, as well as character transformation (which may be progressive or regressive change). Resonant themes— those that echo throughout a piece—develop as the narrative unfolds, prompting readers to ask questions about the issues broached. Significantly, because readers bring their own experiences and expectations to every text, the interpretation of theme is subjective. The important thing to remember is that themes seem to work best when they are allowed to drift to a narrative’s surface. To get an idea of how accomplished writers achieve this effect, take a look at the beautiful story by Shastra Deo titled ‘A Body in Motion’. Simmering with emotional and psychological tension, this piece explores themes associated with trauma and the human need to connect with others. In terms of non-fiction, ‘The Leather Coat and A Lesson in Physics’ by Peta Shaw is a superb memoir that portrays vivid themes concerning human survival and resilience— it’s definitely worth a read.
Ultimately, it is only through practise (and reading the work of others) that we learn to carve out themes in a way that complements our individual writing styles.
Another essential component of a great narrative is the creation of relatable characters. Memorable stories in both fiction and non-fiction contain characters that intrigue readers and compel them to make an emotional investment in the narrative’s outcome. If readers don’t care about what happens to a character, then chances are they’re not going to pursue the story. Fascinating characters that hold readers’ attention need not be infallible (they don’t even need to be especially likable). Indeed, it’s often the case that relatable characters are well-rounded, possessing strengths and weaknesses that remind us of what it means to be human. As crime-writer David Corbett explains, ‘When people appear wounded or in need or our help, we are instantly drawn to them—it’s a basic human reflex…the fact of the matter is that injury to another person instantly triggers a strong response.’ An example of an unguarded and truly captivating character can be found in the short story ‘Pin’ by Robert McCammon. It would be a significant challenge for lovers of short fiction to read this narrative without caring about what happens to its anti-hero. Heartbreakingly vulnerable due to his psychological instability, McCammon’s character seems to trek steadily towards self-destruction, without so much as physically leaving the room in which the author has placed him. The ability to simultaneously generate such a high level of tension and reader empathy is surely an enviable skill. In relation to memoir, highly effective characterisation can be found in David Sedaris’ humorous and moving piece ‘Old Lady Down the Hall’. Sedaris presents himself and his ‘neighbour’ as well fleshed-out characters who exhibit a mixture of traits—strengths and flaws, of stubbornness and forgiveness, arrogance and acceptance—while navigating a
difficult yet valuable friendship. This narrative
therefore
experiences
and
captures
emotions
with
which many readers would be able to relate. This piece also works to ‘show’
the
personalities
of its
characters according to how they behave, talk, the choices they make, their
reactions
to
certain
repercussions, etc. It follows that truly memorable characters tend to strike a chord with readers as a result of their experiences, as well as how they act and speak, rather than how they look physically. Strive to create three-dimensional characters—those who exhibit aspects of darkness and light, strength and weakness, fear and courage—and you’ll be a step closer to captivating readers.
Great short stories and memoir are fuelled by conflict that is introduced early and sustained until a point of climax. In this sense, compelling narratives often depict characters who must strive to fulfil their goals, overcome adversity, or both. Let your characters want something and you’ll immediately generate conflict; put obstacles in their way as they strive to achieve their desires and readers will long to know how they fare. Conflict within a narrative may be clear and overt, commanding reader attention from the out-set, as occurs in Ray Bradbury’s ‘Kaleidoscope’, which opens with a description of a rocket being ‘torn open…’; or it may be more subtle, prompting readers to navigate undercurrents of tension and to ‘work’ at deciphering meaning. Jayne Martin
demonstrates this covert subtle approach to brilliant effect in her piece of flash fiction titled ‘When the Bough Breaks’. Whatever its nature or source, plausible and compelling conflict is the engine room of narrative: it drives plot and characterisation, while also fuelling reader interest. As the author James Frye has noted, ‘The greatest rules of dramatic writing are conflict, conflict and conflict.’ No doubt there are other notable qualities to be found in entertaining and engaging narratives, but if you can nail the fundamental attributes outlined above, then you’ll be well on your way to crafting great short fiction and memoir.
One of the best ways to improve upon your writing is to read as widely as possible. There’s an enormous range of stories and memoir out there (often freely accessible online) that exhibit exemplary writing. Such pieces—whether they’re been produced in the classic, modern, or contemporary era— have a lot to offer readers and writers. Observing the techniques, cadence, voice, and overall style of other writers will not only help you develop a deeper understanding of the craft, it will also influence your own approach to writing, along with the techniques and devices you choose to deploy. As Stephen King says, ‘If you don’t have time to read, you don’t have the time (or the tools) to write. Simple as that.’ Check out the recommended readings and writing competitions on the next few pages.
For your interest, here’s a list of a few short stories and memoirs that are well worth reading. If you’re reading this on a screen with Internet connection, simply press the control key and then click on the link to view the narrative:
Short Stories: ‘The Signal Man’ by Charles Dickens ‘The Tell-Tale Heart’ by Edgar Allan Poe ‘The Yellow Wallpaper’ by Charlotte Perkins Gilman ‘You, Disappearing’ by Alexandra Kleeman
‘The Nine Billion Names of God’ by Arthur C. Clarke ‘The Janitor in Space’ by Amber Sparks ‘The Cry of the Butterfly’ by Matthew Baker ‘Hills Like White Elephants’ by Ernest Hemingway ‘The Monkey’s Paw’ by W.W. Jacobs ‘Blue Boy’ by Josh Kemp Flash Fiction: ‘Initiation’ by Stuart Dybek ‘Absent City’ by Abbey Hunt ‘Insomnia’ by Julia Thatcher ‘Dead Man Dressing’ by Robert Grindy ‘It Came in the Mail’ by Dahmnait Monaghan ‘Attrition’ by Emily Devane ‘The Golden Ticket’ by D.R.D. Bruton Memoir: ‘Faith’ by Wendy Wacker ‘Remember’ by Eileen Herbert-Goodall (follow the link and go to page 15) ‘A Fragmented Diary in a Fragmented Time’ Joyce Carol Oates ‘Isolation’ by Kathy George ‘Trapped’ by Aaron Ralston ‘Your Day to Survive’ by Aurora D. Bonner ‘Signs’ by Holly Willis
Many of us feel daunted by the thought of submitting our work to a competition, but the fact is that you’ve got to be in it to win it. On that note, here’s a list of a few opportunities you might like to pursue. If you’re reading this on a screen with Internet connection, simply press the control key and then click on the link to view the webpage: Short Story Competitions Field of Words Short Story Competition Bath Short Story Award Bayou Magazine Contest Boston Review Contest (Aura Estrada Category) Bridport Short Story Competition Bristol Short Story Prize The Nelligan Prize for Short Fiction
Commonwealth Short Story Prize Enizgam Fiction Prize Fish Short Story Prize Crazy Horse Prize in Fiction, Non-Fiction and Poetry Writers’ & Artists’ Short Story Competition William Van Dyke Short Story Prize Wake, and Dream Again Short Story Competition Writers’ Digest Writing Competition Lamar York Prize The Writing District Contest Tethered by Letters Short Story Contest Glimmer Train Short Story Award Narrative Story Contest Hourglass Literary Magazine Contest InkTears Short Story Contest Masters Review Short Story Award The Moth Short Story Prize William Faulkner Short Story Prize Sean O’Faolain Machigonne Fiction Contest Cambridge Short Story Prize The Tom Gallon Trust Award Tom Howard/John Reid Award
Zoetrope Short Fiction Competition Atlantis Short Story Contest Bare Fiction Magazine Short Fiction Prize The Brighton Prize Conium Review Short Story Contest Creative Writing Matters Short Story Contest Desi Writers’ Lounge Short Story Contest Exeter Writers’ Short Story Competition Fiction Desk Newcomer Short Story Prize Frome Festival Short Story Competition London Magazine Short Story Competition Room Magazine Fiction Contest Segora Short Story Competition Shooter Literary Magazine Short Story Competition Short Fiction Journal Short Story Competition The Short Story Competition Mighty River Short Story Contest Wells Literary Festival Short Story Competition Winchester Festival Short Story Competition Flash 500 Short Story Competition New Millennium Writings Flash Fiction Award The Retreat West Short Story Prize Tennessee Williams’ Short Fiction Contest
Flash Fiction Competitions (‘Short’ Short Stories) Field of Words Flash Fiction Competition Bath Flash Fiction Award Bridport Flash Fiction Competition Fish Flash Fiction Prize 53 Word Story Contest Prime Number Magazine Flash Fiction Contest Tethered by Letters Flash Fiction Contest InkTears Flash Fiction Contest Readers’ Digest 100 Word Story Competition Flash Fiction 400 Competition Bare Fiction Magazine Flash Fiction Prize Blue Mesa Review Annual Summer Contest Creative Writing Matters Flash Fiction Contest Booksie Short Story Contest The Brighton Prize Early Works Press Flash Fiction Competition Fowey Festival Competition Room Magazine Short Form Contest Segora Vignette Competition Winchester Writing Festival Flash Fiction Competition Kenyan Review Short Fiction Contest Dorset Fiction Award
Flash Fiction 500 Competition London Independent Story Prize QuickFic Flash Fiction Competition Great 80 Competition V Edition Flash Fiction Competition New Millennium Writings Flash Fiction Award Reflex Flash Fiction Competition Smokelong Quarterly Flash Fiction Award Ruth Rendell Short Story Competition Retreat West Flash Fiction Prize Tennessee Williams’ Very Short Fiction Contest The Casket of Fictional Delights Flash Fiction Competition Memoir Competitions Field of Words Memoir Competition Fish Short Memoir Prize Crazy Horse Prize in Fiction, Non-Fiction and Poetry Writers’ Digest Writing Competition Narrative Story Contest Blue Mesa Review Annual Summer Contest Room Magazine Creative Non-Fiction Contest Winchester Writers’ Festival Memoir Competition New Millennium Writings Non-Fiction Award Finch Memoir Prize HuffPost 50 Memoir Contest (for writers over 50 years of age)
Happy writing! www.fieldofwords.com.au