sftw – StoryADay

What’s Next?

Making progress in your writing life

If you took part in the StoryADay May Challenge you might be finding yourself confused.

You wrote so much in May and now? Now, it’s hard to get anything done.

You’re Progressing, Not Graduating

As a creative person, there is never a moment that you can point to and say, “That’s it. I’m finished.” We will always strive to be better…and so it’s important to notice the milestones along the way.

Don’t beat yourself up for losing momentum after the challenge (or any big writing push).

It’s possible you needed a break.

But it’s also possible you miss the structure of the challenge.

So, in case Option B applies to you, here’s my suggestion for the next four weeks, so that you can feel yourself making consistent progress without burning out.

Read: Your Four-Week Writing Momentum/Rescue Plan

It takes through a four week plan to:

Notice what you achieved
Set a short-term goal
Work on a specific craft skill
Finalize a draft of a single story

Each week I encourage you to focus on one thing (while, obviously, doing many other things at the same time) so that you can feel a sense of accomplishment at the end of a defined period (in this case, the next four weeks).

Give it a try then come back and tell me how it went.

Blank Space

Tomorrow the 2026 StoryADay May Challenge will be over.

There’s an urge to keep running, to decide what to do next, how to keep the momentum rolling…

…But I’m going to encourage you instead to stop.

…

Take a moment.

Take a breath.

…

Think about what you achieved.

…

Sit with that for a few days.

Then, let’s plan for what comes next.

A Stupendous Amount of Writing

It’s tempting to think that other writers have it easier, or other times were easier on writers.

Wasn’t it easier to get published when there were more independent publishing houses?
Wasn’t it easier to make a living at writing in the golden age of magazine publishing?
All those other writers who are selling their work must have some kind of cheat code that they’re not sharing with us, right?

This week I read the editorial in the February 1951 issue of Galaxy Science Fiction magazine, a relatively new publication at the time. The magazine was making its mark, in part, by offering the highest rates in the market in order to attract the best writers. And they did—publishing Brandbury, Asimov, Clarke, Del Ray, Simak, in their primes.

But here’s a snippet from the editorial that I found weirdly encouraging. Editor H. L. Gold was trying to explain to readers how the economics of the writing business work, but I think he left an important message for us writers, too:

“Counting false starts, stories that won’t work out, stories that shouldn’t have been written at all but seemed good at the time, research, productive labor, etc., it takes a stupendous amount of writing even at the highest rates to support an author and his family on magazine sales alone.”

-H. L. Gold, Galaxy Science Fiction, February 1951

There’s your cheat code: there is no cheat code.

There’s just ‘a stupendous amount of writing’.

Which we love to do, anyway, right?

Looking At The Wrong Metric

When people think of success as a writer, they tend to measure external, visible rewards: sales, income, awards, praise, etc.

But the rewards, if we’re honest, hit most deeply in those moment when a story draft pivots towards it’s real purpose, when you suddenly know what the story is really about; or when you realize you’ve revised it as far as you can, and it’s ready to be read by someone else.

The real reward is in the writing.

What stalls a lot of people is the sense that you’re doing it wrong if you’re making ‘false starts, stories that won’t work out, stories that shouldn’t have been written at all but seemed good at the time…’

If you feel like you’re ‘not a real writer’ because it requires a stupendous amount of writing to generate the occasional piece that works, H. L. Gold would like a word…

He left those words in his editorial to justify paying the highest rates on the market; and they serve to remind us writers, that this was never easy. And that’s OK.

Write a stupendous amount this week

If you’re an ambitious* writer, you have to write a stupendous amount to reap the rewards you’re after. It’s not a race or a competition. You don’t have to burn out. But you do have to write. Probably more than is comfortable.

(*And ‘ambitious’ doesn’t have to mean ‘support myself financially via my writing’. That might be part of your ambition. But I suspect the true ambition is to do the best work you’re capable of.)

StoryADay May is an opportunity for you to find out what ‘a stupendous amount of writing’ feels like, over one month’s time. Are you capable of pushing through, writing when you don’t feel like it, and giving up on those ‘stories that should never have been written’?

If you want to feel the sharp satisfaction of success – whether that ‘success’ is ‘a day of good writing’ or ‘a story sold’, both are valid – remember that ‘a stupendous amount of writing’ is the baseline. It’s the thing that helps you find the stories, tell them well, and sense your own progress.

It’s OK if you don’t want to do all that work. If you have better things to do with your time, by all means do them.

But if you’re floating through life waiting for it to become easy I have some bad news: the struggle is frustrating, and annoying, and sometimes painful, but it’s also where the rewards lives.

What will you write, this week?

Here are the most recent prompts from the StoryADay challenge

Day 17 – A Critical Day, from Mary Robinette Kowal

Day 18 – Expanded Idioms, from Julie Duffy

Day 19 – Inspired by Artemis II, from Julie Duffy

Day 20 – Making a Grocery List, from Brenda Rech

Day 21 – The Nitty Gritty, from Ruby G. Dubois

Day 22 – The Hero of their Own Story, from Julie Duffy

Day 23 – Beyond Sound and Vision, from Elizabeth Twist

Not sure how to get started with prompts? The StoryADay 2026 Handbook has custom warm-ups and brainstorming exercises designed to catapult you into your day’s writing. Get it now
(NOTICE: PRICE WILL INCREASE ON JUNE 1, 2026)

Get the StoryADay Challenge Handbook for 2026 – custom warm-up and brainstorming exercises for every prompt, delivered as a private podcast with transcripts.
SUBSCRIBE NOW

Get the Essential StoryADay Challenge Handbook (the one that’s a short story course disguised as a challenge) from 2024. Video, audio, written lessons & captions
START HERE

Failing at Writing? Now What?

There comes a time in every writing push when it feels like you’re failing.

Whatever goal you set, you’re not meeting it.

You’re imperfect. And your best intentions, it turns out, aren’t enough.

If this is you, you are not alone…and I have a fix: Instead of hoping to find time for writing, you must take concrete steps to make sure writing happens.

Startitis

We start projects (stories, a novel, a challenge) with the best of intentions.

This time, we say…This time I’ll do it perfectly. If I just work harder, I won’t have bad days.

Yeah…that’s not a thing.

When It Gets Tough

Writers aren’t machines.

We do have to keep showing up even when it doesn’t feel easy, but to do that and stay productive, you must show up with a boatload of compassion and joy.

That is easier to do a, when there are fewer decisions to make and b, when you’re around other people who get it.

Not “Will I Write?” But “When Will I Write?”

I’m as allergic to being told what to do and when to do it, as the next neurodiverse/creative person.

And yet.

Writing time doesn’t just appear because we want it to.

If you’re having trouble showing up for your writing right now (looks in the mirror. Nods.) you might need to take a look at your schedule and see if you have planned time where the writing can happen.

Without a plan, it won’t happen.

Even if you plan to write on Friday afternoon but get suddenly inspired as soon as you wake up, that’s fine. Flexibility is good.

But having a plan–even one you react against–is a powerful way to limit the number of decision you have to make in the moment, and hoard your creativity for the actual writing..

Making time for your writing a gift

… to yourself and the world.

It’s not about creating a rigid conveyor-belt-of-words you must staff at all times.

It is about making your writing a priority, before other people’s priorities steal all your time away from you.

So. I’m off to put some potential writing times on my calendar. How about you?

Inspiration Corner

Here are some prompts that you might have missed, this month, to get your creative wheels turning.

Days 1-9

Day 10 – Darkness to Light, from Renan Bernardo

Day 11 – Inhumanity, from Julie Duffy

Day 12 – The Visitor, from Debbie Ohi Ridpath

Day 13 – Here’s a Quarter…, from Michele Reisinger

Day 14 – Mine your Emotions, from Jluie Duffy

Day 15 – Anarchic Archetype, from Julie Duffy

Day 16 – I Think I Can, from Somto Ihueze

Keep writing,

Julie

Pick a Prompt

(Any prompt)

The StoryADay Challenge has rolled into its second week for 2026, and there’s a lively community of writers leaving comments about their writing, over at the blog.

Even if you’re not taking part in the challenge, why not read through them and commit to writing one story sparked by one, this week?

Day 1 – The Last Word, from P.A. Cornell

Day 2 – Funktionslust from Aimee Ogden

Day 3 – Ride The Wind, from Myna Chang

Day 4 – A List of Words, from Julie Duffy

Day 5 – Stranger Than Fiction, from Jared Lemus

Day 6 – Talking to Animals, from Max Delsohn

Day 7 – Dip your Toe Into Memoir, from Heidi Clausius

Day 8 – Like a Sore Thumb, from Gabrielle Johansen

Day 9 – Non Stop, from Lara Hughes

(If you’d like to get the prompts in your inbox each day for the rest of the month and aren’t already, add your email address to this form.)

Each of the prompts has some explanation and inspiration built in, so go and check them out, then leave a comment and let us know how you got on!

Keep writing,

Julie

Recommended Short Stories from my Reading List – Jan 2026

One of my projects this year is to reconnect with the current state of the short story.

Because I’m interested in the form, I read a lot of short stories, but I’ve been doing it in a haphazard way.

But because another of this year’s goals is to submit more stories, I want to make sure I’m reading to what editors are buying and readers are enjoying now, not just what the professors say a short story should be.

How To Read A Lot of Short Stories

This year I’ve committed to reading A LOT of short stories and I’ve found a rhythm that I’m enjoying.

Mostly that means starting or ending my day with a short story or piece of flash fiction from one of the many collections on my shelves or one of the many online publications I otherwise forget to visit.

But I’m also going to strongly recommend another tack I’m taking: every time I pick up my phone to doomscroll, I either put it down and pick up a short story collection, or swerve the social media and news sites (and yes, I deleted the social media apps from my phone, which means I have to go to the browser if I really want to get my fix) and pull up an ebook collection or an online journal.

How Much Time To Allocate

Flash fiction takes almost no time to read – I’ll read one while waiting for the coffee machine to run or the kettle to boil for a nice cup of Lavendar Mint Tea

Short stories might take ten or twenty minutes to read – perfect for getting away from my desk, drinking the aforementioned coffee or herbal tea.

Sometimes I hate the stories. Mostly I don’t.

The trick, I’ve discovered, is knowing what you like.

Finding Stories You Like

The trick to that, sadly, is ploughing through a bunch of stories you don’t like.

Trial and error will teach you which editors, collections and journals tend to have stories you enjoy, and which have stories that frustrate you or leave you feeling bad.

Don’t love stories about trauma? It doesn’t mean you can’t appreciate good writing. It just means you don’t care to spend your break time being brought down.

Tips for finding anthologies you’ll love:

Follow authors you like on social media and when you inevitably break your self-imposed social media fast, look them up and find out what they’re recommending.

If an author whose writing you enjoy guest-edits an anthology, there’ a good chance you’ll like the stories they chose (this happened to me the year Anthony Doerr edited the Best American Short Story Collection, but it can also happen in reverse. I picked up a copy of the same collection from the year when Stephen King edited and was delighted to discover that he–an author I had never read, and had many preconceptions about–had excellent taste in fiction, which led me to reading and enjoying some of his writing too!)

Ask writing and reading buddies what they’ve read that they’ve enjoyed, lately.

Stories I Have Enjoyed from my January Reading List

‘Foreword’ by Jacqueline Freimor, Best American Mystery and Suspense 2023

Styled as a foreword to a newly-discovered novel by a lesser-known writer, and salted throughout with footnotes, this story was an absolute delight. (Things you should know: I love a footnote and I’m a sucker for stories that use weird formats like this and stories where the story that is really being told is not the story the narrator thinks they are telling). This was a sly and delightful story, with a hint of crime a crime to earn it a place in the ‘mystery and suspense’ collection, but the real mystery is the one the reader solves by reading between the lines.

‘The Song of a Non-Human Intelligence’, Mical Garcia, Strange Horizons

This short piece is a fantastic example of interesting science fiction, told from a non-human but accessible perspective. It taps into the current AI-everything zeitgeist but does it in an unexpected way. It’s also a great example of something I’m trying to learn about: science fiction that is not focused in colonialist and extractive norms (conquering planets, mining the universe for resources). In this story an AI is embedded in a whale embryo by human researchers who, it turns out, lack the scope to understand the whole whale experience. So the AI makes a plan….it was a lovely story, and a great advert for the importance of writers coming from more walks of life than the ‘I like writing, let me do an MFA and become a teacher’ route. (Nothing wrong with that, but give me a story by a biologist or an accountant or a land management specialist, from time to time, too!

Weight Room, Paul Crenshaw, Best Microfictions 2020

This was a great example of how very short fiction differs from the 4-6,000 word short stories you might be more familiar with.

It is impressionistic and immerses you in a moment and an environment…and then uses the ending to show you another layer to the story.

Elegantly done.

Ripen, Ashley-Ruth M. Bernier, Best American Mystery and Suspense 2023

This was a lush, lovely story with a light mystery element, that opens this collection and changed my whole expectation of what mystery/crime short fiction could be. In this story a food journalist returns to her parents’ home on St. Thomas to deal with some family and personal issues, and becomes tangentially involved in an island drama.

Take Me To Kirkland, Sarah Anderson, Best American Short Stories 2025

A coming of age story about a girl growing up–and apart from–her former best friend. It’s charming and terrifying and about something, but not self-pitying. The voice has that true teen self-absorption that comes from trying to figure out who you are. And the ending lands.

The Wif-Fi Womb, Avi Burton, Analog Nov/Dec 2025

This is a low-key, well told story about convenience and the dark side of our always-connected, always-monitoring societal trend. This one felt like it could be come (a terrifying) reality, next week.

Dominion, Lauren Acampora, Best American Short Stories 2025

This story captured the pampered ‘failing up’ nature of a former CEO in retirement, and the wife who hitched her wagon to his star and is now trapped with this one-dimensional fool, who threatens to wreck everything she’s built (he’s already alienated their daughter). In retirement Roy has decided to create a zoo of wild (and sometimes rescued) animals, and sees his hobby as somehow divinely ordained, and a benefit to humanity (of course he does). He invites his granddaughter’s kindergarten class to visit and, shockingly, in a zoo run by amateurs, disaster strikes. Roy’s response is as inept as you would expect. This was a vicious skewering, and I liked it 🙂

‘The Billionaires Are Having A Party’, Sage Tyrtle, Fractured Lit

This is flash fiction at its best. The billionaires of the title are deliciously awful, the story doesn’t preach, but it does illuminate, and the ending packs a wallop!

Sources for these and other stories I read this month

Best American Short Stories 2025 (Celeste Ng, Ed)

Best American Science Fiction and Fantasy 2025 (Nnedi Okorafor, ed)

Analog Science Fiction & Fact

Clarkesworld Magazine

Best American Mystery and Suspense 2023 (Lisa Unger, Ed)

Best Microfiction 2023

SUPPORT STORYADAY BY ORDERING BOOKS THROUGH BOOKSHOP.ORG

All The Stories I Read (So Far) This Month

(No, I’m not reviewing them all…)

“Halfway Alive Halfway Living”, by Colton Kekoa Neves, Apex

“Look at the Moon,” by Dominique Dickey (Best American Science Fiction and Fantasy 2025).

“The Forgetting Room,” by Kathryn H. Ross (Best American Science Fiction and Fantasy 2025).

“An Ode to the Minor Arcana in a Triplet Flow,” by Xavier Garcia (Best American Science Fiction and Fantasy 2025).

“The Weight of Your Own Ashes,” by Carlie St. George (Best American Science Fiction and Fantasy 2025).

“Bots All The Way Down,” by Effie Seiberg (Lightspeed Magazine; Lightspeed Magazine).

“Nine-one-one,” by Sarah Freligh (Welkin Stories; MattKendrick.co.uk).

“Pattern,” by David Anson Lee (Welkin Stories; MattKendrick.co.uk).

“John,” by Petra Marteleur (Welkin Stories; MattKendrick.co.uk).

“A Unique Case,” by Alasdair Gray (Every Short Story, Alasdair Gray).

“Flip Lady,” by Ladee Hubbard (Best American Mystery & Suspense 2023).

“Chalice,” by James L. Cambias (Analog, Nov/Dec 2025).

“Academic Neutrality,” by M. R. Robinson (Lightspeed Magazine).

“Earth’s Last Library,” by James Van Pelt (Analog, Nov/Dec 2025).

“Jumper Down,” by Don Shea (Flash Fiction Forward).

“Stories,” by John Edgar Wideman (Flash Fiction Forward).

“Eros, Philia, Agape,” by Rachel Swirsky (The Best Science Fiction and Fantasy 2010).

“Truth and Bone,” by Pat Cadigan (Best Science Fiction and Fantasy of the Year, Vol. 4, Jonathan Strahan (ed.), 2010).

“Stairs for Mermaids,” by Mm Shrieir (Flash Fiction Online).

“Home Is The Hunter,” by James A. Hearn (BAMS 2023).

“Foreword,” by Jacqueline Freimor (Best American Mystery and Suspense 2023 ).

“The Mayor of Dukes City,” by S. A. Cosby (Best American Mystery and Suspense 2023 ).

“The Song of a Non-Human Intelligence,” by Michal Garcia (Strange Horizons;).

“New York Blues Redux,” by William Boyle (Best American Mystery and Suspense 2023 ).

“Weight Room,” by Paul Crenshaw (Best Microfictions 2020).

“New York Blues Redux,” by William Boyle (Best American Mystery and Suspense 2023 ).

“Linger Just A Little Longer,” by V. Astor Solomon (100 Foot Crow).

“The Horses Are Ready and They Need to Go,” by Christopher Citro (Best Microfictions 2020).

“Ripen,” by Ashley-Ruth M. Bernier (Best American Mystery and Suspense 2023 ).

“The Billionaires are Having A Party,” by Sage Tyrtle (Fractured Lit).

“Currents,” by Hannah Bottomy Voskuil (Jerry W. Brown’s site).

“Take Me To Kirkland,” by Sarah Anderson (BASS 2025).

“Dominion,” by Lauren Acampora (Best American Short Stories).

“One Tick,” by Joel Wright (100 Foot Crow).

“The Red Zone,” by Jennifer Galvão ( The Rumpus).

“The Wi-Fi Womb,” by Avi Burton (Analog, Nov/Dec 2025).

“The Grand AM,” by Tyler Barton (Best Microfictions 2020).

“Persephone Rides at the End of Days,” by Carmen Maria Machado (Selected Shorts 2026-01-05).

“Space Is Deep,” by Seth Chambers (Clarkesworld 232).

“The Desolate Order of the Head in the Water,” by A. W. Prihandita (Clarkesworld 232).

“Down We Go Gently,” by M. L. Clark (Clarkesworld 232).

“What to buy your husband of thirty-seven years for his birthday,” by Jay Mackenzie (Flash Fiction Online).

“The stars you can’t see by looking directly,” by Samantha Murray (Clarkesworld 232).