The Three Pillars of Storytelling Editor: Shannon  More Newsletters By This Editor 
 ![Table of Contents [#401437]
Table of Contents Table of Contents](/main/images/action/display/ver/1709303267/item_id/401437.png) 1. About this Newsletter 2. A Word from our Sponsor 3. Letter from the Editor 4. Editor's Picks 5. A Word from Writing.Com 6. Ask & Answer 7. Removal instructions
 ![About This Newsletter [#401439]
About This Newsletter About This Newsletter](https://www.writing.com/main/images/action/display/ver/1709303676/item_id/401439.png)
Welcome to the Short Stories Newsletter. I am Shannon  and I'm your editor this week.
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Keep reading for your chance to claim an exclusive trinket! |
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Letter from the editor Letter from the editor](https://www.writing.com/main/images/action/display/ver/1709303784/item_id/401442.png)
"Learn the rules like a pro so you can break them like an artist." ~ Pablo Picasso
The Three Pillars of Storytelling: Protagonist, Plot, and Pacing
Many new writers focus on one aspect of storytelling while unintentionally neglecting the others. They may create an unforgettable hero, but struggle with a weak plot. Others design exciting events but rush through them so quickly that readers never become emotionally invested. Strong stories are built on a balance of three essential elements: protagonist, plot, and pacing.
Understanding how these components work together can transform a good idea into a compelling story that keeps readers turning pages.
1. The Protagonist: The Heart of the Story
The protagonist is more than just the main character. They are the lens through which readers experience the story. A well-crafted protagonist gives readers someone to root for, worry about, and invest in emotionally.
One of the most common mistakes new writers make is creating a protagonist who is too perfect. Real people have flaws, fears, insecurities, and contradictions. Those imperfections are often what make characters relatable.
When developing a protagonist, ask yourself:
What does this character want?
Why do they want it?
What stands in their way?
What flaw or weakness must they overcome?
The answers to these questions create the foundation for character growth. Readers are often less interested in whether a character succeeds and more interested in how the character changes along the way.
Consider the difference between a hero who begins the story fearless and competent versus one who starts uncertain, makes mistakes, and gradually grows into their role. The second character typically creates a much more satisfying reading experience because readers witness a transformation.
A strong protagonist drives the story forward through decisions and actions rather than simply reacting to events. Whenever possible, allow your protagonist to make choices that influence the direction of the plot—even if those choices create additional problems.
2. The Plot: The Engine of the Story
If the protagonist is the heart of the story, the plot is the engine that keeps everything moving.
Plot is not merely a series of events. It is a chain of cause and effect. One action leads to another, creating momentum and tension that carry readers through the narrative.
Many beginning writers fall into the trap of creating scenes that are interesting but disconnected. A stronger approach is to ensure that each scene changes something.
After every major scene, ask:
What has changed?
What new problem has emerged?
What decision must the protagonist make next?
How does each event make the protagonist's situation worse, more complicated, or more urgent?
A useful way to think about plot is through conflict. Stories thrive on obstacles. If a protagonist wants something, there must be meaningful challenges standing in the way.
These obstacles can be external, such as an antagonist, a natural disaster, or a difficult circumstance. They can also be internal, such as fear, self-doubt, guilt, or conflicting desires. The most engaging stories often combine both external and internal obstacles.
As the plot unfolds, the stakes should gradually increase. Early challenges should lead to larger complications, forcing the protagonist to take greater risks. This escalation creates tension and keeps readers engaged.
Remember that every plot point should either move the story forward, deepen character development, or ideally accomplish both.
3. Pacing: The Rhythm of the Story
Pacing refers to the speed at which a story unfolds. It determines how readers experience the flow of events.
Even a great protagonist and a strong plot can fall flat if pacing is poorly managed.
New writers often assume that faster is better. In reality, effective pacing requires variety. Stories need both acceleration and moments of pause.
Action scenes, confrontations, discoveries, and major plot twists typically move quickly. Reflection, character development, relationship building, and world-building often benefit from a slower pace.
Think of pacing like music. A song played at maximum speed from beginning to end would quickly become exhausting. Stories work the same way.
One useful technique is to alternate high-intensity scenes with quieter moments. After a dramatic confrontation, readers often need a brief opportunity to process what happened before the next major event occurs.
Pay attention to scenes that linger too long. If a conversation, description, or sequence does not advance the story or reveal something important, consider trimming it.
At the same time, avoid rushing through significant emotional moments. If a character experiences a devastating loss or major victory, allow readers time to feel the impact.
The goal is not constant speed but a satisfying rhythm that keeps readers engaged from beginning to end.
Bringing It All Together
Protagonist, plot, and pacing are deeply interconnected. A compelling protagonist gives readers someone to care about. A strong plot provides meaningful challenges and forward momentum. Effective pacing ensures that the story unfolds at a rhythm that maintains interest and emotional investment.
When revising your work, evaluate all three elements together. Ask yourself whether your protagonist is driving the story, whether the plot is creating meaningful conflict, and whether the pacing allows readers to fully experience the journey.
Mastering these three pillars takes practice, but doing so will strengthen every story you write. After all, great storytelling isn't just about what happens—it's about who it happens to, why it matters, and how skillfully you guide readers through the experience.
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Have you written a story with a protagonist who undergoes a powerful transformation? Do you have a story where the plot twists, rising stakes, and pacing kept readers turning the pages? Share it 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 "Three PPPillars" 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.
"Tell your stories. If people wanted you to write
warmly about them, they should have behaved better."~ Anne Lamott
Thank you for reading.
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Editor's Picks Editor's Picks](https://www.writing.com/main/images/action/display/ver/1709303830/item_id/401445.png)
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!
| | | A Clown's Tears (E)Saving his daughter, Auguste is burned severely. Tragically, shame keeps him from her. |
| |  | The Flawed Gods (18+)A god-like being; immortal, nigh-invicible, all-powerful. Or...just a man, after all? |
| |  | The Painter (E)A story of a painter returning to paint an old church and sparking memories of the past. |
In April, readers submitted stories based on one of the prompts provided. These are the three top stories that won merit badges:
| | | Bad Liar (ASR)A year of deception forms a lifelong bond, crossing elemental boundaries |
| | The Bradbury (18+)Where the 52 short stories will be placed for The Bradbury 2025 and then 2026 |
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 ![Word From Writing.Com [#401447]
Word from Writing.Com Word from Writing.Com](https://www.writing.com/main/images/action/display/ver/1709303874/item_id/401447.png) 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
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Ask & Answer Ask & Answer](https://www.writing.com/main/images/action/display/ver/1709303902/item_id/401448.png)
The following is in response to "The Art of the Unfinished"
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BIG BAD WOLF - 37 on June 3rd  writes: I once wrote an Epilogue for my Monster Cowboys story, set like 120 years after the main story, due to a prompt involving a graveyard being too quiet. It was for the Horror Factor Contest, which is now closed. Didn't win, but it was fun. "Monster Cowboys Part Seven (Ghost Story)" [18+]
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John  writes: Where do we post our story?
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Mousethyme - RJB gone 25yrs  writes: All five prompts are pulling at me. The next line wrote itself. The challenge is not going to be writing the story... the challenge is which story will I write for the contest?
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SkyHawk - Into The Music  writes: Not quite sure this is the right way, but I'd like to enter the Short Story From Prompt contest in the 7 April Short Stories newsletter. My story, Some Storms Don't End, is based on Prompt #1, "At first, I thought the letter had been delivered by mistake. The handwriting wasn’t familiar, even though it bore my name. Then I saw the return address, and my hands began to shake. It was from a town that had been abandoned for more than twenty years, ever since the night that—". Please let me know if I've done this right, or need to do so another way.
Respectfully,
SkyHawk
"Some Storms Don't End" [E]
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Jeff  writes: For me, there's always a delicate balance between planning enough to know where I'm going and leaving enough up to the surprise and delight of discovery to keep the writing process interesting. Ultimately, I've found the method that works best for me is also the one that I like for road trips. I want to know where I'm starting, know where I want to end up... and leave the "how I get there" open for exploration and adaptation. 
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kadenkoker  writes: My contest Is every fortnight. I submit a short prompt, then I let the writers' imaginations flow. The max is two thousand words. There is no minimum. "The Fortnight Ink Clash" [E]
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Lilli ☕  writes: Another wonderful newsletter which will finally encourage me to dust off a "work in progress" and give it another go.
Great prompts in this NL, too!
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