On How to Start a Short Story

c/o Ali Smith

The Hurst, and especially the gardens, are looking beautiful.

Bluebells are still making the slopes look like a hazy reflection of a Mediterranean sky. Azaleas and rhododendrons glow in shocking pinks and bridal whites. I’ve been told the handkerchief tree has flowered for the first time, although I’ve yet to locate it.

Rachel is teaching this morning’s workshop, so I’m free to write about what we did in yesterday’s — after warming up like Hilary Hahn.

This exercise I got from Ali Smith, who was my co-tutor (actually superlead tutor), when I did my first Arvon.

It is a way of getting started on a story, even if you don’t think you have a story to write.

On the left hand side of the page, write these numbers in these groups —

1.

2.

3.

4.

5.

1.

2.

3.

1.

2.

3.

1.

2.

3.

That was a lot of scrolling, but quicker than me describing it.

The next part you have to do as fast as possible. No mulling or second guessing, just write the first thing that comes into your head.

Alongside each of the first five numbers, write the names of possible characters. First name, surname. Not real people’s names. Names of people you’d like to write about. Exciting people.

Straight away, by the next three numbers, write down three places in the world. One of them, at least, should be outside the UK. They can be cities or states but can also be museums or private houses.

For the third group of three numbers, choose three portable and desirable objects. No yachts or racing cars. Nothing that big. And no mobile phones or keys or obvious murder weapons. Nothing that plotty.

And now, quick as you can, for the final 1-2-3, note down three mood words. By this I mean, words that might be used to describe the kind of atmosphere a story might have. For example, creepy, cosy or constricted. Try to vary these possible moods. Don’t have them reinforce one another. (Here I always think of the High Llamas album title, Cold and Bouncy.)

Right — you might think you’re finished, but you’re not.

Go back up the page and cross out two of your possible characters, one of your locations, one of your objects and one of your mood words.

What you have left are the elements of your story, which you should begin writing straight away.

Do at least two pages, making sure you include as much of what you’ve written as possible.

If you find anything unbearable, change it.

Off you go, with Ali Smith’s blessing, and mine.