Skinny Fiction – Stories Without Flab

Ernest Hemingway once wrote a short story in only six words. Hard to believe? Well, here it is.

For sale: baby shoes, never worn.

Most people agree it’s a story once heard, never forgotten. Those six simple words pack quite an emotional punch. Carefully chosen, the words form a sequence leading the reader from the familiarity of something for sale, through to an intriguing set of circumstances that fire up the imagination. Who is selling the baby shoes? Why were they never worn? What happened to the baby? Or the mother?

Whenever I read Hemingway’s story-in-six aloud to a group of people, it never fails to raise hairs on the necks of some listeners. I’ve even seen people shudder at the impact of the final two words. Six little words – it never fails to amaze me that something so small can be so powerful.

Writing short stories is all about choosing words carefully and arranging them so they punch above their weight and readers are presented with layers of hinted meaning. But it’s also about leaving enough space for readers to fill in the gaps with their own imagination. It doesn’t suit every reader. If you want it all spelled out, then short story is not for you. Stick to the novel, where a comfortable bit of word-flab can be enjoyed and the imagination doesn’t have to work overtime. But if you prefer your imagination to be teased, if you like to mull over the meaning a little more, if you want to be left musing over the outcome of the story for days after you’ve read it, then the shorter the better.

Around the world right now, there’s a growing trend for shorter and shorter fiction. Gary Taaffe’s home of Skinny Fiction encourages writers to send in stories with word limits of 100, 50, 25 or 10 words. If chosen, the story is published on various websites for readers to see.

It sounds easy to come up with only 10 or 25 words but telling a complete story in such a small space is difficult. If you’d like to try it, here are a few hints I’ve found useful:

  • Centre the story around a clear main character and a single important event that changes the main character in some way.
  • Spell out a little, imply a lot. Hemingway describes the baby shoes as never worn which is minimal description but implies something much larger has occurred.
  • Cut out any word not working hard enough for the story. If Hemingway had written blue baby shoes, we might assume the baby was a boy, but does the gender of the baby really matter to the impact of the story? Not only does blue not work hard enough for the story, it also limits the reader’s imagination to a single gender baby which might make the story less powerful for some.
  • Use words or phrases with multiple meanings to add layers to the story. For sale is a simple phrase, mundane even, but it conjures up all sorts of back-story. People sell things for many different reasons and those reasons carry many different emotions.
  • Use contractions like: he’s instead of he is; or I’d instead of I would. Apart from being a trick to cut down the word count, contractions increase the pace and move the reader more quickly through the story.
  • Arrange the words to give rhythm to the story. If Hemingway had written Baby shoes for sale, never worn it would have broken up the repetitive rhythm of the baby shoes, never worn couplet, making it less punchy and less memorable.

Skinny Fiction can be a lot of fun. If you come up with some really short pieces, try sending them to Gary Taaffe at Skinny Fiction and you might find your story being published on a website for lots of readers to enjoy.

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