Please provided a brief annotated outline for the following: 5 Tips for Creating Trouble in a Short Story
Author Lisa Cupolo describes how short stories are different from novels. 

“When writing my short story collection Have Mercy on Us, my biggest challenge was not getting too lost in my trouble of the story right from the start.”

“A novel tells us everything while the short story only tells us one thing,” V.S. Pritchard said. This is a great premise to hold onto while writing a short story; stories are a window into a life, not the whole enchilada.

These five tips for making sure you’re creating enough conflict to keep your reader turning the pages may seem like basics, but I still use them as good reminders about what’s crucial to writing an engaging short story. Often, I’ll write an entire draft and forget about a few of these necessary elements. But always, they show themselves through many revisions, as they are always necessary to make a story really sing.

1. Have your character want something.
Your character needs to be presented in a way that they desire something, but they do not have it yet. It can be a possession, a person, even a trip to somewhere. In the title story of my book, Alina is stalking her daughter’s boyfriend in a creepy way. In the first paragraph we learn she is outside the boyfriend’s apartment every morning, in the afternoons she’s at the coffee shop when he gets his cup of joe, she’s hoping he’ll be haunted by her presence.

He is the reason her daughter is in trouble, the story declares. I wrote this line after many revisions, as I knew I had to be upfront about the conflict in the story. In this way, the reader wants to find out what the guy did to her daughter and feels empathy for the mother in the situation.

To know a character is to know what they want, and the story follows that pursuit.

2. Create a situation that involves danger. 
Any kind of danger, from seeing a suspicious text on a spouse’s phone to being caught in a bank robbery. The tension of that situation is what carries the story forward and becomes its anchor. Unlike novels, every sentence in a short story has to involve developing the plot or revealing more about the character. In revision, I tend to move paragraphs and reshape the way a story unfolds, not unlike rearranging furniture in a room. I cut big chunks that don’t need to be there, like taking out that old sofa you love, but in the end, it has to go. In my story, “How I Became A Banker,” the first line is, When I was twelve I made a promise to myself that I’d make a shitload of money. The reader immediately wants to know why the narrator made such a promise and at such a young age. Again, I didn’t come to this line until after many revisions.

3. Conjure up complications. 
Whatever the situation you create, add some complication to it: Nicola is tempted to flirt with the tattoo artist and does so, and then discovers that the tattoo artist’s assistant is an old school buddy of her boyfriend. She flirts because she is determined to ruin her life, her goal is self-destruction, not messing up her relationship. It’s complicated and sorrowful and the reader is hooked. Be on the lookout for plots that surprise you. It’s usually a good thing.

4. Hide the real problem. 
“It’s not the mud on the floor,” my mother used to say. She meant it as a metaphor for when things go wrong and it seems it’s one thing that’s bothering a person, but it’s usually something else. For example, in my story “You’re Here Now,” Sylvie has never met her father, but she’s on the way to his funeral. The story seems to be about the loss of ever having a relationship with her father, but the reader soon realizes the story is about the resentment she has toward her mother, who never let her see her father or his large family. It’s the hidden thing, the complication behind what is initially presented that can make stories so rich.

5. Make sure the readers know the trouble early, like a few paragraphs in. 
It’s almost a cliché to say write a story and then delete the first two pages to get to the “heat” or “pulse” of it.

In Flannery O'Connor's famous story "A Good Man is Hard to Find," the first line gives trouble that seems minor, though it will lead to the catastrophe at the end: The grandmother didn't want to go to Florida. It can be as simple as that, to start.
user
Sure, here's a brief annotated outline for the article:

1. **Introduction**
   - Brief explanation of what the article is about: creating trouble in a short story.
   - Introduction to Lisa Cupolo, the author of Have Mercy on Us, and her challenges with short story writing.

2. **Premise**
   - V.S. Pritchard's quote: "A novel tells us everything, a short story tells us one thing."
   - Explanation of how this quote applies to short stories.

3. **Basics of Creating Trouble in Short Stories**
   - **1. Character Wants Something:** The character needs to have a desire or a goal that they're trying to achieve.
   - **2. Situation Involving Danger:** There needs to be a sense of danger or risk involved in the story.
   - **3. Complications:** Add unexpected twists and turns to the story.
   - **4. Hidden Problem:** There may be a deeper issue underlying the surface problem in the story.
   - **5. Early Introduction of Trouble:** Introduce the trouble early on in the story.

4. **Examples from the Author's Short Story Collection, Have Mercy on Us**
   - **1. "You're Here Now":** The hidden trouble in this story is Sylvie's resentment towards her mother, rather than the loss of a relationship with her father.
   - **2. "Alina":** Alina is stalking her daughter's boyfriend and there's a sense of danger involved.
   - **3. "How I Became a Banker":** The promise the narrator makes to themselves creates a lot of tension throughout the story.
   - **4. "Nicola":** There's a complication when Nicola flirts with the tattoo artist's assistant, who happens to be her old friend.

5. **Conclusion**
   - Recap of the importance of creating trouble in a short story.
   - Thanks/Closing.

Note: These are just brief guidelines, and you'll need to expand on each point in your own outline. Also, double-check the formatting and grammar to ensure clarity and readability. Finally, ensure the outline aligns with the overall tone and style of the author's book.
assistant
Please provided a brief annotated outline for the following: 5 Tips for Creating Trouble in a Short Story
Author Lisa Cupolo describes how short stories are different from novels. 

“When writing my short story collection Have Mercy on Us, my biggest challenge was not getting too lost in my trouble of the story right from the start.”

“A novel tells us everything while the short story only tells us one thing,” V.S. Pritchard said. This is a great premise to hold onto while writing a short story; stories are a window into a life, not the whole enchilada.

These five tips for making sure you’re creating enough conflict to keep your reader turning the pages may seem like basics, but I still use them as good reminders about what’s crucial to writing an engaging short story. Often, I’ll write an entire draft and forget about a few of these necessary elements. But always, they show themselves through many revisions, as they are always necessary to make a story really sing.

1. Have your character want something.
Your character needs to be presented in a way that they desire something, but they do not have it yet. It can be a possession, a person, even a trip to somewhere. In the title story of my book, Alina is stalking her daughter’s boyfriend in a creepy way. In the first paragraph we learn she is outside the boyfriend’s apartment every morning, in the afternoons she’s at the coffee shop when he gets his cup of joe, she’s hoping he’ll be haunted by her presence.

He is the reason her daughter is in trouble, the story declares. I wrote this line after many revisions, as I knew I had to be upfront about the conflict in the story. In this way, the reader wants to find out what the guy did to her daughter and feels empathy for the mother in the situation.

To know a character is to know what they want, and the story follows that pursuit.

2. Create a situation that involves danger. 
Any kind of danger, from seeing a suspicious text on a spouse’s phone to being caught in a bank robbery. The tension of that situation is what carries the story forward and becomes its anchor. Unlike novels, every sentence in a short story has to involve developing the plot or revealing more about the character. In revision, I tend to move paragraphs and reshape the way a story unfolds, not unlike rearranging furniture in a room. I cut big chunks that don’t need to be there, like taking out that old sofa you love, but in the end, it has to go. In my story, “How I Became A Banker,” the first line is, When I was twelve I made a promise to myself that I’d make a shitload of money. The reader immediately wants to know why the narrator made such a promise and at such a young age. Again, I didn’t come to this line until after many revisions.

3. Conjure up complications. 
Whatever the situation you create, add some complication to it: Nicola is tempted to flirt with the tattoo artist and does so, and then discovers that the tattoo artist’s assistant is an old school buddy of her boyfriend. She flirts because she is determined to ruin her life, her goal is self-destruction, not messing up her relationship. It’s complicated and sorrowful and the reader is hooked. Be on the lookout for plots that surprise you. It’s usually a good thing.

4. Hide the real problem. 
“It’s not the mud on the floor,” my mother used to say. She meant it as a metaphor for when things go wrong and it seems it’s one thing that’s bothering a person, but it’s usually something else. For example, in my story “You’re Here Now,” Sylvie has never met her father, but she’s on the way to his funeral. The story seems to be about the loss of ever having a relationship with her father, but the reader soon realizes the story is about the resentment she has toward her mother, who never let her see her father or his large family. It’s the hidden thing, the complication behind what is initially presented that can make stories so rich.

5. Make sure the readers know the trouble early, like a few paragraphs in. 
It’s almost a cliché to say write a story and then delete the first two pages to get to the “heat” or “pulse” of it.

In Flannery O'Connor's famous story "A Good Man is Hard to Find," the first line gives trouble that seems minor, though it will lead to the catastrophe at the end: The grandmother didn't want to go to Florida. It can be as simple as that, to start.
user
Annotated Outline:

I. Introduction
   A. Brief explanation of the difference between short stories and novels, using V.S. Pritchard's quote as a premise.
   B. Introduction to the author's challenge in creating trouble in a short story and its importance in engaging the reader.

II. Tip 1: Have your character want something.
   A. Explanation of the importance of a character's desire in creating conflict.
   B. Example from the author's story "Have Mercy on Us" about Alina's obsession with her daughter's boyfriend.

III. Tip 2: Create a situation that involves danger.
   A. Explanation of how danger and tension carry the story forward.
   B. Emphasis on the importance of every sentence in a short story.
   C. Example from the author's story "How I Became A Banker" about the narrator's early ambition.

IV. Tip 3: Conjure up complications.
   A. Explanation of adding complications to the situation created.
   B. Example of a character's self-destructive behavior and its complex implications.

V. Tip 4: Hide the real problem.
   A. Explanation of using hidden problems or underlying issues to enrich the story.
   B. Example from the author's story "You’re Here Now" about Sylvie's resentment towards her mother.

VI. Tip 5: Make sure the readers know the trouble early.
   A. Explanation of the importance of introducing the trouble early in the story.
   B. Example from Flannery O'Connor's "A Good Man is Hard to Find" about the grandmother's reluctance to go to Florida.

VII. Conclusion
   A. Recap of the importance of creating trouble in a short story.
   B. Encouragement for writers to use these tips as reminders for crafting engaging short stories.
assistant