The novel-in-stories. The short story cycle. Linked stories. All three titles reference the same type of work of fiction that tells individual narratives that faintly connect to each other as a whole. What are the characteristics of a novel-in-stories and how are they able to tell a different story than a typical novel?
Read more to learn how characters, themes, settings, and other traits can restructure a narrative to appear as a different type of story.
A Novel-in-Stories is about Structure
To a reader of fiction who may not know better, a short story cycle or novel-in-stories may appear as just another collection of short stories. And they have a decent argument. Each short story is independent of the other. And likely covers a plethora of topics. So, what is the difference?
Well, the novel-in-stories is practically the same, but it has characteristics that link the individual stories together, ever so faintly, on purpose. This purposeful linking is what contorts the structure from nothing to something. Now, rather than simply picking a random story in the middle of the book, it is suggested that you begin reading the novel-in-stories from the first page. Even though there are individual stories, they must be consumed as a whole from the start for the stories to make sense.
*Think of it as a quasi-novel. Its loose structure and obscurity make the reading more simplistic and brief.
Physical Characteristics
Although mostly all novels will have chapter titles, they tend not to have anything else that might divert your attention from the story. The short story cycle is different when it comes to its physical traits. Their appearance is akin more to the collection or even non-fiction.
For example, a novel-in-stories might have a table of contents alerting the reader to which page begins a particular chapter. Novels tend not to go this route.
Another might be a map of the setting. Some novels have a map, but most don’t. For example, “Winesburg, Ohio” (the most well-known novel-in-stories ever!) has a small map of the town. Sometimes, a short story cycle may have a diagram of a family tree, mapping out an ancestral lineage for the reader. Chapters might start with a date or special time, signifying a running emphasis on time.
What it Needs
The one element that a short story cycle MUST have is the beginning, middle, and end.
Remember, each story must act independently of the other. During the story, they can have one or two connections to another story, but they need to tell a full, complete story by the end of the chapter/story. That is mandatory. Without it, the stories become one and eventually turn into a novel.
Framework Style
A novel-in-stories might have an important question that will introduce itself within the first few chapters. This framework question is important because the reader should see its solution by its end. This specific question doesn’t need to appear in every story, but it should make its appearance every now and then to remind the reader that it is important.
For example, in the awesome HBO series “Game of Thrones,” the question of Jon Snow’s true lineage is a subject of great discussion. It is introduced early in the first few episodes and concludes eight seasons later. However, within that time frame, that question comes up several times to remind the audience that it is still relevant to the plot.
The answer to a framework question is never dull. It should hold serious weight to the past, present, or future of one of the characters. Furthermore, the answer should affect numerous people, to some degree, not just one character.
The Connecting Vein (the most important part!)
So, what truly qualifies a short story cycle from a novel?
The stories must have a physical connection. Through characters, objects, themes or settings, the collection will morph into a cycle or a novel-in-stories. But there is a catch to this.
The connection must be brief, yet always around. Vague, yet important. This is not as hard as it might sound. Some novel-in-stories have a returning character that never gets a proper story of his or her own, but makes quality appearances in all the stories. Even if the revolving character doesn’t appear in the story, other characters might reference them, allowing the reader to see the connection.
Another way is through setting. As with Sherwood Anderson’s “Winesburg, Ohio,” the cycle follows a returning character while in a familiar setting: the small city. Anderson’s story cycle shows the reader what it means to exist in a small town. And he gives you quick glimpses into their lives just long enough.
Another way to connect stories is through the theme. However, some could argue (rightfully so) that the theme still only qualifies it as a collection. For the sake of this article, let’s just call a theme a proper connection. That would mean each story would involve different characters, have different plots, but they would connect…by a romance theme…or by a horror theme. Get it? I am not totally convinced a literary agent wouldn’t classify a work like that as a collection instead of a novel-in-stories.
Related Topics
Is it more difficult to publish a novel-in-stories than a regular novel?
Yes. Unfortunately, it is a sad truth that publishing a novel-in-stories (or anything that remotely resembles a short story collection) is more difficult than a regular novel. As much as a linked collection is respected and wanted, publishers seem to stray away from it. Why? Because readers tend to gravitate towards novels. A novel provides a whole experience for a longer time than a linked collection.
That shouldn’t deter you from writing a novel-in-stories, however. If your linked collection is unique and well-told, it could be work. It also doesn’t hurt if you land yourself a literary agent that is partial to linked stories. The name “novel-in-stories” exists as a selling device to attract buyers. They might see the fragmented structure too akin to a short story collection. When the publishing company throws in the “novel” it assures the buyers that the story does encompass a novelistic experience.
It is hard to name (and therefore, more difficult to sell to readers) because it doesn’t fit any normal structural standards in literature. Main characters may come and go, making the reader unable to learn about a single character as deeply as a regular novel.
The term “short story cycles” and “linked stories” are also manipulations of titles created to entice the buyer. The word “cycle” implies a circle, which makes the reader know that each chapter is interrelated with each other (which they are!). But, if the term “collection” was used instead, the book may not sell as well because a “collection” implies random stories.
Why should you write a novel-in-stories and NOT a novel?
It helps writers learn to write structure. By having a narrative in a mosaic form, it reduces the emphasis on plot. It instead focuses on theme and character. Plot still exists, but to a much lesser degree in the background of the story.
The most successful linked story collections usually come from a seasoned novelist in his or her mid-career. They already have mastered the art of storytelling to some degree and are then able to bend and break the rules of a narrative that allows them to tell an interesting story in a fragmented structure.
After you have mastered the structure of a short story cycle, you will find it easier to manipulate the structure of a novel.
Why do readers enjoy reading a novel-in-stories?
We are naturally attracted to short story cycles because we enjoy serial narratives. That is why movie sequels and tv series’ linger for years. We like that it involves a singular story and that it is part of a larger whole. The linking promotes a lengthier and more in-depth narrative for us to consume over time. Bit by bit, we grow with the characters.
Good luck!
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