This week: Principles and Concepts Edited by: Shannon  
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Welcome to the Short Stories Newsletter. I am Shannon and I'm your editor this week.
Keep reading for your chance to claim an exclusive trinket! |
“The artist must be like that Marine. He has to know how to be miserable. He has to love being miserable. He has to take pride in being more miserable than any soldier or swabbie or jet jockey. Because this is war, baby. And war is hell.”
~ The War of Art by Steven Pressfield
This week, I'd like to talk about tried and true principles and concepts that help writers create effective, impactful stories. Of course, rules can be broken, but was the break accidental or done on purpose? If it was on purpose, why? Paying attention to why you follow some rules and break others while creating your story is important. If you don't know why you did something, chances are your readers won't either.
Below are seven writing principles to ponder. And what works for one writer may not work for another, but it's fun to explore these ideas so we have more tools in our toolbox. And like any tool, it's better to have it and not need it than to need it and not have it.
Let's go!
Chekhov’s Gun and Other Writing Principles That Make Your Story Better
Ever been halfway through a movie and thought, Wait, why did they show us that weird statue in the first scene? Then boom—two hours later, that statue turns out to be a secret key to the villain’s lair. That’s not just a cool twist, it’s Chekhov’s Gun in action.
Let’s talk about Chekhov’s Gun and a few other storytelling principles that writers swear by—not just because they sound fancy, but because they actually work.
What is Chekhov’s Gun, Anyway?
Chekhov’s Gun is a principle named after Russian playwright and short story writer Anton Chekhov, who once said (paraphrasing here), “If there’s a gun hanging on the wall in Act One, it should go off by Act Three.” In other words, don’t include things in your story that aren’t going to matter later.
It’s all about narrative efficiency and avoiding false promises. If you make your audience pay attention to something, it better have a payoff. Otherwise, you’re just distracting them—or worse, boring them.
Imagine if a character found a mysterious locked box early in a novel ... and then we never hear about it again. That’s a big ol’ storytelling no-no. That’s a Chekhov’s Gun that didn’t go off, and readers will notice.
It’s Not Just About Guns
Here’s the cool thing: Chekhov’s Gun isn’t literally about guns. It could be a photograph, a scar, a weirdly specific line of dialogue, a broken watch. The idea is: everything you put into your story should serve a purpose—whether it reveals something about the characters, builds suspense, or drives the plot forward.
That said, not everything has to be a plot twist or a clue. You can have flavor and atmosphere, too. But if you spotlight something—like writing an entire page about it or having a character dwell on it throughout the story—it raises the reader’s expectations. They’re going to file it away as “important,” so make it count.
The Iceberg Theory (a.k.a. Hemingway’s Principle)
Now that we’ve got Chekhov’s Gun loaded and ready, let’s move on to another classic: the Iceberg Theory, also known as the Theory of Omission. This one comes from Ernest Hemingway, who believed that a good story shows only the tip of the iceberg, while the deeper meaning lies beneath the surface.
In simpler terms: say less, mean more.
Hemingway’s writing was famously spare—short sentences, minimal description, no rambling internal monologues. But under that clean surface was emotional depth. He trusted readers to figure things out on their own.
So what does this mean for you? Don’t spoon-feed your audience. If a character is grieving, you don’t need three pages of sobbing. Maybe they just sit at a table, staring at their untouched coffee. Let the silence speak. Readers are smart. Give them credit.
Show, Don’t Tell (But Sometimes, Do Tell)
Ah yes, the golden rule of writing advice: show, don’t tell.
Instead of saying “Rufus was angry,” you show Rufus slamming a door, clenching his fists, and pacing like a caged animal. That paints a picture and pulls the reader in.
But here’s a secret: sometimes, it’s okay to tell, too. Especially if you’re moving quickly or covering transitions. If you spend three paragraphs “showing” something that could be summed up in one sentence, your pacing might suffer.
Use showing for emotional moments, key character beats, or scenes where mood matters. Use telling when you need to move the story along or when the information isn’t worth dramatizing.
Think of it like seasoning—showing is your garlic and herbs. Telling is your salt. You need both, but don't dump in the whole jar.
The Rule of Three
Here’s another subtle trick: the Rule of Three. It’s a principle that shows up in comedy, storytelling, and even speeches. The idea is that things are funnier, more satisfying, or more memorable in threes.
In stories, it might look like this:
1. First attempt: failure.
2. Second attempt: slight improvement, but still failure.
3. Third attempt: success (or final failure, depending on the tone).
This structure works beautifully for plot beats, character arcs, and even jokes.
For example:
 A character tries to ask someone out. Rejected.
They try again with flowers. Still rejected.
They show up outside their beloved's window with a boombox, blaring Peter Gabriel. Success!
Or:
Your detective gets three clues.
Your villain escapes three times.
The final confrontation happens on the third night.
It’s satisfying because our brains crave patterns, and three is the smallest number needed to establish one.
Save the Cat
If you've dipped a toe into screenwriting, you've probably heard of Save the Cat. It's a term coined by Blake Snyder in his screenwriting book of the same name, and it's all about making your protagonist likable.
The idea is simple: early in your story, have your main character do something nice or human—like saving a cat from a tree (hence the name). It helps audiences root for them, even if they're flawed or antiheroic.
This works in novels and short stories too. Think of your grumpy detective who buys coffee for a homeless guy. Or the rogue thief who rescues a kid during a heist. That one moment makes us think, Okay, I’m in. I want this person to win.
Kill Your Darlings
No, not literally. This phrase is more about being ruthless with your writing. “Kill your darlings” means cutting out the parts of your story you’re overly attached to that aren’t serving the greater good.
Maybe it’s a poetic line of dialogue. Maybe it’s a page of backstory that you love but readers don’t need. If it slows the pacing, confuses the tone, or distracts from the plot, it’s got to go.
Yes, it hurts. But your story will be stronger for it.
Pro tip: Don’t actually delete those “darlings.” Just save them in a “cut scenes” folder. You might find a home for them later.
Bonus: The Plant and Payoff
This one's a cousin of Chekhov’s Gun. Plant and payoff means you introduce an element early (“plant”), and then bring it back later in a meaningful way (“payoff”).
It could be a throwaway joke that becomes crucial, or a skill a character practices that later saves their life.
Think of Frodo getting the mithril shirt in The Fellowship of the Ring. Seems like a nice gift. Later, it saves him from being skewered by a troll. It’s a satisfying payoff because it feels like the story is a living thing—everything is connected, and nothing is wasted.
Final Thoughts
Writing is like building a machine. Every bolt, wire, and gear should have a purpose. Chekhov’s Gun reminds us to only include what matters. The Iceberg Theory tells us to trust our readers. And the Rule of Three, Save the Cat, and Plant/Payoff techniques give us tools to craft more engaging, emotionally resonant stories.
The trick isn’t to follow all the rules. It’s to understand them well enough that you know when to break them. Because sometimes, the most unforgettable moments come from bending the rules. Just don't do it by accident.
Now go load that metaphorical gun. And make sure it fires.
***
Do you follow these "rules" or break them? Do you have a writing principle or concept you'd like to share with the WDC community? Every registered author who shares their ideas and/or creative endeavors relating to or inspired by this week's topic will receive an exclusive "Chekhov" trinket. The image used to make this month's trinket was created by yours truly. I will retire this month's limited-edition trinket in August when my next short stories newsletter goes live.
“There is no ideal condition for creativity. What works for one person is useless for another. The only criterion is this: Make it easy on yourself. Find a working environment where the prospect of wrestling with your muse doesn’t scare you, doesn’t shut you down. It should make you want to be there, and once you find it, stick with it. To get the creative habit, you need a working environment that’s habit-forming. All preferred working states, no matter how eccentric, have one thing in common: When you enter into them, they compel you to get started.”
~ The Creative Habit by Twyla Tharp
Thank you for reading.
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I hope you enjoy this week's featured selections. I occasionally feature static items by members who are no longer with us; some have passed away while others simply aren't active members. Their absence doesn't render their work any less relevant, and if it fits the week's topic, I will include it.
Thank you, and have a great week!
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Have an opinion on what you've read here today? Then send the Editor feedback! Find an item that you think would be perfect for showcasing here? Submit it for consideration in the newsletter!
https://www.Writing.Com/go/nl_form
The following is in response to "Persevere, Produce, & Publish in 2025" :
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S 🤦  writes: The bit about reading the guidelines and only submitting to a place that publishes your sort of work is vital. So many small presses have closed to open submissions because people think their children's story about fluffy unicorns is so wonderful that surely the spattergore anthology call looking for cannibal stories will want it. Or they think, I know it says 2500-4000 words, but my space epic is so incredible, they won't resist publishing its 10,900 words! I work with a lot of editors and publishers as an author, and luckily, because I get invites to submit where others miss out because too many writers think they know better than the anthologists.
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Princess Megan Rose   writes: Some good guidelines and goals about writing short stories. Short stories are easier to write then novels. This held my interest and hopefully, I will publish some more of my items someday. Thanks for sharing and the good advice.
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Annette  writes: I have never submitted any of my writing for publication. However, the most recent college class on writing that I took had me write a mock pitch that followed the submission guidelines of a place that was accepting submissions at the time.
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brom21 writes: So, a lot of people have heard of The Writer's Market Guide. There is an adaptation of the volume called the Christian Writer's Market Book. All the variations you mentioned are faith inclusive works. And there are a lot of challenges like flash fiction and contests and such. Honestly, I need to get back into the writing mindset. I am thinking of getting the 2025 version of the Christian Writer's Market Guide. Thanks for the NL!
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Jeff  writes: Thanks for sharing all the publishing resources! I am admittedly very bad about following up with opportunities for my short fiction once I finish writing it and post it here, but I might have to look into some of these and see what happens! 
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Damon Nomad  writes: Good advice about chasing publication of short stories, especially about rejection being part of the game. It is, you need to expect it and if you think a story is really good keep adjusting it and sending it to others. Sometimes a good story just isn’t the right fit for one publication but is for another. Write, submit, repeat.
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Detective writes: I've considered entering/submitting stories, but I've never really looked into them. Perhaps I should look into these a bit more.
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BIG BAD WOLF is Merry  writes: Always something.
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Drake  writes: I once self published a zine. I even had some local success with it. I probably sold less than 100 copies, but hey. It was something.
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JL Richter writes: Sharing my work has always scared me; in my earliest years, an article of mine was read aloud and everyone in the room laughed, despite the high grade I received for the assignment. After that demoralizing incident, I never really shared anything creative with hardly anyone. Until, I was selected to submit a piece to a pay-to-publish anthology, the hardbound of which currently sits on my bookcase; my poetry piece a small blip somewhere in the middle of about a thousand pages. I admit, it was a rush to see my work in print, even if it was under a pen name. Since then, the only place I've submitted my creative work for review has been here, Writing.com. The idea of submitting anything for publication is still intimidating. But perhaps, now, that'll change.
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sindbad  writes: Hi, Shannon. This is a fantastic newsletter, Shannon! It's so encouraging to see a detailed breakdown of where to submit and what to expect.
I've been working on a collection of flash fiction for a while now, and the mention of Flash Fiction Online and the NYC Midnight Flash Fiction Challenge immediately caught my eye. I've always admired the conciseness and impact of flash fiction, and these seem like perfect avenues for my pieces.
My current creative endeavor is a story titled "The Echo of the Old Mill." It's a literary fiction piece that hovers around 4,500 words, exploring themes of memory, regret, and the hidden lives within small towns. It has a slightly melancholic and reflective tone, and after reading your recommendations, I'm strongly considering The Sun magazine or One Story as potential homes for it. Their focus on emotionally rich and deeply human narratives seems to align well with what I'm trying to achieve.
I also appreciate your emphasis on reading the guidelines and tracking submissions. I've definitely been guilty of skimming in the past, and your advice is a good reminder of how crucial those details are.
Thank you for putting this together. ~ sindbad
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Angelica Weatherby- July 4th  writes: I got it is good but not the right fit.
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JACE  writes: I've never really placed a high value on being published. The writing has always been enough for me. But, reading your newsletter has me wondering.... Thanks for your insights, Shannon.
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Short Stories: July 02, 2025 Issue [#13212]
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