SHORT STORIES AND THE “HILL CURVE”…

The short story has held a significant place in literature for countless years and I dare say it will continue to do so. A writer friend of mine commented a few days ago that a short story was much more difficult to write than a novel. She found it hard to maneuver the events of her tale into lengths of 3,000 – 10,000 words. She also felt if she managed 10,000 words, she should go forth to the novella or novel format. Her comments returned me to literature class and a review of the six elements under a plot line—the “Hill Curve.” I still visualize the famous (or infamous depending where you stand with it) curve when I begin a short story. My comments are primarily meant for ‘newbies’ dipping their toes into this concise world of fiction.

I believe most of us would agree that the elements involved in the curve are easy enough with one exception…rising action. Certainly the beginning of a story, or exposition, conflict, climax, falling action and resolution all fit snugly into place much like pieces of a puzzle, but oftentimes rising action rears its ugly head to give us trouble. Most writers accept the idea, at least intellectually, that it shouldn’t be a problem because the action is simply transporting the reader to a believable climax. True, but the road from conflict(s) filled with appropriate rising actions is frequently filled with as many potholes as some of our Houston streets. Keeping the reader filled with energy of the writer’s particular story—excitement, intrigue, terror, etc. is often a demanding task. After the climax, of course, the other side of the hill, the falling action, slides into place and begins solving the characters’ problems. Then joyful, or perhaps not so joyful, resolution concludes the story and the writer rejoices as he types ‘The End.’

Rising actions of a story, in concert with the genre of the tale, may reveal themselves in many ways, but one constant—the events leading to the climax must be compelling.

Good writing, Betty Gordon