An opening line is a vital part of a short story. A good opening line should grab the reader's attention instantly. Readers should go into the story curious, wanting to continue reading.  A good first line should establish a strong voice and offer some hint as to what is to come in the story. If you're writing a story centering around themes of sadness, it's important to hint at this in your opening line.  If you're stuck, read a few opening lines from your favorite sad stories. You can also Google search something like, "Most memorable opening lines." Read through a variety of opening lines and examine how they function. Why are they successful? Why do you want to keep reading? Take a look at this article's example. In this story, Ada has to eventually accept her dog's death. Let's say her father died of cancer and it's difficult for her to deal with loss. Write an opening line that conveys a sense of coming loss, while also emphasizing past sorrows. For example, "Ada did not mean to start crying during Mr. Cheny's lecture, but she couldn't help but feel that loss was following her everywhere." Readers are more inclined to be emotionally moved by strong relationships. This makes sense. Everyone has people in life they are close to. When a story deals heavily with relationships between characters, a reader may experience a stronger emotional reaction.  Show how your characters are close. They can finish each other's sentences, help each other without question, and comfort each other during bad times.  In this article's example, there are three main characters: Ada, her mother, and her dog. You could write scenes of Ada tenderly caring for her dog, showing how much she loves him. You could also show that's she close to her mother. Ada and her mother could joke lovingly with each other. A brief flashback to Ada's father's funeral could reveal Ada helping her mother cope in the aftermath. As you progress through your story, engage with rising action. Build up to the sad event. People are unlikely to be moved by sadness without buildup. If you're not emotionally invested in a character or a situation, you're unlikely to feel sad when reading a story.  Each scene in a story should move it forward in some way. Refer to your outline when in doubt. What is your climax? How can you get your characters to this climax? In this article's example, the dog could have a seizure and need to be rushed to the vet. Ada learns the dog's cancer has spread to the brain. Do not just focus on the actions. Pay attention to the emotional story at play. Ada will eventually argue with her mother. You can show her mother gently trying to help Ada brace for the worst case scenario and Ada resisting. As you write these scenes, think about the heart of your story. What is the main point or realization for your characters? Each scene should build up to this point. In our example, Ada may have to accept death is part of life. Try to emphasize inevitable death and decay in each scene. Once you've written the falling action, focus on your climax. This is the height of action in your story. Try to write a climax that is intense without feeling forced or melodramatic.  Remember the character's hopes and dreams at this point. This can help you see what is at stake here. In this moment, what is the character fighting for? What will happen if he or she fails?  The best stories have a moment of discovery. This should be somewhat universal. Your character will discover something about herself or her situation that can point to a universal theme or message. In this article's example, the climax is when Ada and her mother fight about having the dog put to sleep. On the surface, what's at stake is the dog's life. On a deeper level, Ada's sense of purpose is at stake. Helping the dog gives her a sense of control over the inevitability of death. A larger realization here could be that accepting death is part of life. Perhaps Ada's mother could say something along these lines during their fight. Levels can benefit sad stories in many ways. In addition to making sad moments feel more intense, readers crave theme and character development. A reader may be more moved by a sad story if he or she feels they learned something along the way. Once you've written your climax, it's time to end your story. A story's ending should offer some kind of resolution to the action. A reader should feel satisfied by the ending, even if it's unhappy. You should not leave your reader with any lingering questions or concerns.  You need to build up to your ending with falling action. This is what leads to your conclusion. The main character should make peace with his or her fate. All scenes after the climax should lead to a resolution, serving to lessen the tension rather than build it up. In our example, Ada could have a good cry and then tell her mother she's ready to accept her dog's death. A sad story does not necessarily have to have a sad ending.  However, it may feel inauthentic to have things suddenly turn around for your character. If you want to give a sad story a happy ending, make sure you build up to this point. In our example, do not have it suddenly turn out the dog is okay after all. This is not realistic. Instead, maybe it could end a few months in the future. While Ada misses her dog, she has moved on with a new puppy.

Summary: Find a good opening line. Create close relationships within your story. Build up to the main sad event. Write your climax. Choose an appropriate ending.


One of the best ways to ensure you understand the basic grammatical elements of a language is by seeking the help of someone who’s qualified to teach you. Many community colleges offer language courses, or you can ask around at your local high school or college to see if any English students want to make some extra money tutoring you. Grammar and style guides come in two forms: descriptive guides that describe how people do speak, and prescriptive guides that tell people how they should speak. But language changes and evolves, and the rules of English aren’t always set in stone. There are many style guides that recommend different ways of approaching grammar, and it’s a good idea to read several of them. This will provide an idea of the different ways to approach spelling (such as American versus British), syntax, and style, give you a better idea of the fundamentals of grammar, and show you where the language is adaptable and where it’s inflexible. Some of the most widely used style guides are:  The Chicago Manual of Style, which is often used for social science and historical journals. The Modern Language Association (MLA) style, which is often used in the humanities, in language studies, and in cultural studies. The Associated Press (AP) style, which is used by most news and media outlets. The American Psychological Association (APA) style, which is often used for natural and life sciences, academic journals, and social sciences. Along with the resources available at libraries, the Internet is full of reliable grammar games, lessons, exercises, quizzes, and tips. Many universities will also offer resources about grammar, spelling, syntax, and common errors.  Purdue OWL is an excellent resource that has lessons and different style guide recommendations.  You can also subscribe to daily grammar emails and blogs from people like Grammar Girl.
Summary: Take a class or see a tutor or teacher. Read style guides and grammar books. Find online resources.