What better way to take a class on short story mechanics (the essential) than doing it on your time, at your pace, whenever you can find the time. You’re already making the commitment to improve your work, by taking this class, so whether it’s getting up early, staying up late, or writing on your lunch hour, we want to make our classes as accessible as possible so they’re not just one more thing standing in your way.
Our self-paced classes are designed to give you the same information and the same feedback from Richard as you’d get in a standard class, but in a way that works with your schedule, and is cheaper than the traditional classes (continuing education, undergraduate study, or in an MFA program).
The self-paced segments are also a great way to focus on weak points without committing to a whole class. Or, maybe you’re unfamiliar with Richard’s teaching style and want a sample before committing to a full class.
Whatever brings you to this option, we’re glad to have you here with us.
self-paced short story mechanics Course overview
When you purchase a segment you will be directed to download the lesson packet. The packet will include a written lecture, assigned readings, and an assignment. When you complete the assignment email it as an attachment to Richard (attached in a Word document in standard format). See guidelines here.
Self-Paced classes do not include any Skype time with Richard.
Each course segment is designed to work together, each one building off the first, but if you just want to brush up on certain craft mechanics they can also stand alone. If you have any questions, we encourage you to reach out to Richard at any time for help.
Segments one (Voice) through seven (Endings) are $25 a piece.
To be eligible for segment eight you must complete all 7 prior segments.
Segment eight—a full edit on a 4,000 word story from Richard Thomas—is $50.
You may purchase all eight segments at once for a discounted price of $200.00.
Want more information? Download the full Self-Paced Short Story Mechanics instructions.
BOOKS
None required. All assigned reading will be included in the segment packet.
who is this class for?
Beginning students who need to learn the fundamentals of story building.
Writers who don’t have the time to read and write every day for the required two weeks at LitReactor.
Writers who want a refresher on short story story mechanics.
Writers who have written but not yet published any stories.
Writers who need help with the mechanics, and the structure, of what is essential in a short story.
Authors looking to up their game, and write not just complete stories, but better stories.
Author who are writing a lot, but feel that something is not working, or something is missing from their short fiction, but they aren’t sure what it is.
Writers who need a cheaper option.
Writers who want an introduction to Richard’s teaching style.
syllabus
Segment One: Voice and Structure // Freytag’s Triangle.
Packet includes: Instructions; Lecture One: Voice and Structure; Assignment One: Voice and Structure; Column: Finding Your Voice; and Column: Dramatic Structure and Freytag’s Triangle.
Segment Two: Narrative Hooks
Packet includes: Instructions; Lecture Two: Narrative Hooks; Assignment Two: Narrative Hooks; Column: Narrative Hooks; Annotation: Chemistry and Other Stories.
Segment Three: Tension // Further discussion on inciting incidents, starting your story “in media res” and how to get your character moving. Short assignment.
Packet includes: Instructions; Lecture Three: Creating and Building Tension; Assignment Three: Creating and Building Tension; Reading Assignment: “The Paperhanger,” by William Gay; Annotation: “The Paperhanger.”
Segment Four: Theme and Mood // Stepping back from the structure for a second to lecture on the feelings and emotions of your story, and what you should be establishing. Assignment given.
Packet includes: Instructions; Lecture Four: Theme and Mood; Assignment Four: Theme and Mood; Reading Assignment: “Tall Tales from the Mekong Delta,” by Kate Braverman; Annotation: “I.D.” by Joyce Carol Oates; and Annotation: “Tall Tales from the Mekong Delta,” by Kate Braverman.
Segment Five: Conflict // Lecture on how to build on your conflict, which should have been established with your hook, inciting incident, and theme/mood. Assignment given.
Packet includes: Instructions; Lecture Five: Establishing and Increasing Your Conflict; and Assignment Five: Establishing and Increasing your Conflict.
Segment Six: Setting // Stepping back to think about the setting. Taking into account logistics, weather, season, locations, neighborhoods, cities, etc. Assignment given.
Packet includes: Instructions; Lecture Six: Setting; Assignment Six: Setting; Setting Examples: Blood Meridian, by Cormac McCarthy; and Column: Dynamic Setting.
Segment Seven: Resolution. Lecture on how the story will eventually resolve itself, the epiphany, or change, and how the ending should leave the reader feeling something.
Packet includes: Instructions; Lecture Seven: Endings; Assignment Seven: Endings; Column: Endings, Twisted and Otherwise; and Annotation: Girl Trouble
Segment Eight: Write a 4,000 word story, taking into account everything you’ve learned throughout the other seven segments.
Ready to sign up? We’d love to have you.
Full Class: Purchase the entire self-paced Short Story Mechanics class and save $25.00.
SSM details
Cost: $25 for segments one through seven. $50 for segment eight. If you purchase all eight lessons at once you will receive one lesson for free.
Platform: Self-Paced
Structure: Written lecture, assigned reading, assignments.
objectives
Master the mechanics of the short story
Learn how to internalize and utilize those skills in the future
Produce a short story, no more than 4,000 words
Get solid suggestions on where to send it
Banner image by Pixabay on Pexels
Storyville and Gamut illustrations by Luke Spooner. Used with permission.
Bottom image by luizclas on Pexels
“After achieving what I thought was a solid draft of a story, and after having it workshopped by several people, I still felt something was missing. Richard Thomas not only unearthed those little morsels that I’d stepped over repeatedly, but his edits also shed a light on certain weaknesses which allowed me to trim the fat and tighten up my tale—to turn it into something I’m now extra proud to send out to the world. I can’t recommend enough his seasoned and discerning eye.”
