Like some kind of particularly tenacious vampire the short story refuses to die, and seems at this point in time to be a wonderful length for our generation.
I began as a poet, moved to short fiction, then to novel writing, and, for the past twelve years, back to stories. I sometimes wonder if the pendulum will swing all the way back to where I began. As T.S. Eliot says, "In my end is my beginning," but for now I'm staying put, sitting tight, and loving the short story form way too much to leave it quite yet.
I think my leap into TV and movies and comics is in a way natural because I'm a visual storyteller. If you look at any one of my short stories or novels, they sort of unscroll cinematically. Every scene is concrete in my mind. I can walk around the room and pick things up. I can describe at length every feature on the character, though I might only supply a glimpse of this on the page. So if I'm writing color into that I'm also writing texture, I'm pushing the image more than anything else.
I started writing the book without realizing I was writing a book. That sounds stupid, but it's true. I'd been trying and failing to make a different manuscript work, and I thought I was just taking a break by writing some short stories. I'm not a very good short story writer - the amazing compression that is required for short stories doesn't come easily to me. But anyway, I thought I'd try to write some short stories. And a structure took shape - I stumbled upon it.
What's impossible not to notice, though - it's all around us - is the diminution of American prose: How pedestrian it has become. Pick up any short story and listen to its voice, the tedious easy vernacular that mistakes transcription for realism. This would display an understandable pragmatism if it were a pandering to common-denominator readers; but it is, in fact, a kind of hifalultin literary ideology, the less-is-more Hemingway legacy put through an up-to-the-minute industrial blender.
Don't bend; don't water it down; don't try to make it logical; don't edit your own soul according to the fashion. Rather, follow your most intense obsessions mercilessly. Only if you do that can you hope to make the reader feel every particle of what you, the writer, have known and feel compelled to share."---Forward to Kafka's Short stories
I'm much more drawn to fiction, to short stories, and to plays, than I am to diarists.
I couldn't sit down and write a novel or a short story - even now - because of my dyslexia. But I learned narration through movies.
If Francoise Sagan hadn't written a book called A Chateau in Sweden, I would certainly write a short story called A Chateau in Puerto Rico. And I may yet.
I've been doing morning pages: the first thing I do when I wake up is sit down and write three pages of whatever comes into my head. The more I do them, the more creative I get and the smaller my problems seem. I can turn something that I hated a few days ago into a short story or a song.
From a literary standpoint, I've been loving Raymond Carver's short stories, William Carlos Williams' poems, Richard Siken's 'Crush', John Fante, and Jim Harrison's book of ghazals. I love film and photography too, so many of my songs are very image rich from those influences.
Around the time I dropped out of college, I decided to start taking what I liked about short stories and apply it to writing songs - to make these things that would change and keep going.
In the beginning this was just an idea. Then it was a short story. Then it was a script. Each step was pretty exciting to see people come on board to support the project. It's gratifying to know that more people are seeing my work in this form than my work as a playwright. And it's been fun to hear people's response to seeing it. I've been having some deep conversations with strangers and friends about how much it has made them think about slavery and its impact today.
I was also a good writer, by the way. My, you know, my English teacher and writing teacher loved my writing. You know, I wrote short stories and things like that. And they liked them very much.
It's an essay that Sigmund Freud wrote about E.T.A. Hoffman's short story called "The Sandman" where someone mistakes an inanimate object for a living, breathing human being. And one of the things that Sigmund Freud really felt was that in modern life people assign qualities to objects around them that may not exist there whatsoever.
I'm very happy - if I can do even a little bit of work to get the short story out more, I'm thrilled.
We were friends with Jonathan Demme. We were all down on the West Side of New York, and I think I met Kurt Vonnegut through Edith Demme. And then I was lucky to do Who Am I This Time? 1982, which was an adaptation of his short story that Jonathan Demme directed with Chris Walken and I, and that really cemented the friendship.
One easy mistake to make with the first novel is to expand the short story. Some things are better as a story; you cannot dilute things into a novel. I think the first hundred pages of a novel are very important. That's where you set things up: the world, the characters. Once you've set that up, it'll be much easier.
I'm mostly a novelist these days, but I have written short stories in Fantasy, Science Fiction and horror.
[Jorge Luis Borges] had short stories, and I was trying to learn how to write short stories, and then he had these things in the middle that were like fables, and I loved hearing fables.
I began by doing book reviews on the typewriter and then went over to short stories on the machine, meanwhile sticking to pencil for poetry.
Short stories are like individual jewel stones on a necklace, wonderful in themselves like standalone gleaming entities of semantic intensity.
I sat down and wrote a short story in two weeks and submitted it to Marion Zimmer Bradley. And Marion bought "Wound On The Moon" .My first sale and my first pro sale rolled into one.
I never know exactly where I'm going with a story, whether it's a short story or a novel. If I did I'd soon grow bored of it. The fun, for me, is in the finding out and the making sense of it.
Sometimes I do work on a longer manuscript in tandem with one or two shorter pieces - whether it's a short story or an essay (though I don't write many of the latter).
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: