What are the characteristics of 'not so long stories'?

Long stories often have complex plots. They usually involve multiple characters with different motives and personalities. For example, in 'A Tale of Two Cities', there are many characters like Sydney Carton and Charles Darnay, and the plot weaves through the French Revolution. Long stories also tend to cover a wide range of themes. They can explore love, death, power, and morality all in one. Additionally, they may span different locations and time periods, adding to their richness.

Indian long stories often have a strong moral or religious undertone. For instance, in the Ramayana and Mahabharata, there are lessons about dharma (righteousness). They also tend to be rich in characters, from gods and goddesses to humans and demons. The settings are usually vividly described, from palaces to forests. And many of them are passed down orally for generations before being written down, which gives them a certain authenticity and connection to the cultural heritage.

Arabic long stories often have rich cultural elements. They are deeply rooted in Arabian traditions, values, and religious beliefs. For example, many stories in 'One Thousand and One Nights' reflect Islamic teachings and Arabian social norms.

Long folktales stories often have complex plots. They are not simple, one - dimensional tales. For instance, in 'The Odyssey', Odysseus' journey is full of various challenges, from facing mythical creatures to dealing with the wrath of the gods.

One characteristic is the slow build - up of suspense. In a long story, there's more time to gradually increase the feeling of unease. For example, in 'The Haunting of Hill House', the author slowly reveals the strange happenings in the house, making the readers' anticipation and fear grow over time.

Complex characters are also common. For example, in 'The Silence of the Lambs', the characters of Clarice Starling and Hannibal Lecter are multi - dimensional. Their interactions add to the suspense as you never quite know what Lecter will do next or how Starling will react. Long suspense stories often have a lot of sub - plots too. In 'Inferno' by Dan Brown, there are multiple storylines running parallel, all contributing to the overall mystery and suspense of the story.

Another characteristic is the exploration of complex and often negative human emotions. These stories dig deep into feelings like despair, loneliness, and regret. Take 'The Bell Jar' for instance. The protagonist's battle with mental illness is filled with such emotions as she feels isolated and lost in her own world.

They can be very impactful in a short space. Since they don't have a lot of room to ramble, every word counts. A 3 - page love story can pack a powerful emotional punch with just a few well - chosen descriptions and dialogues. It's like a concentrated dose of storytelling.

Two - page long stories usually have a fast - paced narrative. Because of the limited space, the action or the development of the story has to move forward briskly. Writers need to use every word effectively to create a complete and engaging story. They might use vivid descriptions sparingly but effectively, and the dialogue is often brief and purposeful to drive the story forward.

Long pointless stories usually have excessive details that don't contribute to the overall meaning. They could involve a lot of unnecessary descriptions of things like the color of every flower in the park when it has no bearing on the so - called 'point' of the story. It's like the storyteller is just rambling without a proper narrative structure.