Zitat des Tages über Kurzgeschichte / Short Story:
In college, I discovered the Joyce Carol Oates short story 'Where Are You Going, Where Have You Been?' which is definitely one of the most incredibly unnerving, frightening short stories ever written.
Well, to be honest I think I'm a better short story writer than a novelist. Novels I find very hard, hours and hours, weeks and weeks, of conscious thought - whereas short stories slip out painlessly in a few days.
Your opening should give the reader a person to focus on. In a short story, this person should turn up almost immediately; he should be integral to the story's main action; he should be an individual, not just a type. In a novel, the main character may take longer to appear: Anna Karenina doesn't show up in her own novel until chapter eighteen.
All of my problems are rather complicated - I need an entire novel to deal with them, not a short story or a movie. It's like a personal therapy.
Courier 12 is the Type-O blood of fonts - works just as good for a 'N.Y. Times' op-ed as a screenplay or a short story.
I'm a novelist, editor, short story writer. I also teach, and I freelance sometimes as an arts consultant. Most of my books have been published by Warner Books, now known as Grand Central Books.
I still write the occasional short story, and poked at a novel once, but it's just not what I want to do.
I've made seventeen or eighteen films now, only two of which have been original screenplays, all the others have been based on short stories or novels, and I find the long short story ideal for adaptation.
Women want love to be a novel, men a short story.
Like pretty much every short story writer, I submitted to every market under the sun and hoped for the best. The rejection letters I've collected over the years can probably make a book of their own.
You know, it's sort of common wisdom among New York publishers that short story collections don't make money.
The short story, it's not a step on the way to becoming a novelist.
When I was about 13 or 14, I had an English teacher who made a deal with me that I could get out of doing all of the year's regular work if I would write a short story a week and on Friday read it to the class.
I write about five thousand words a day, when working on a book, about three thousand a day if I'm writing a short story. I take long periods off between projects, when I read a lot, garden, and think about the next book or stories.
I often think of the novel as a form that celebrates social groups, and the short story being a form that is capable of celebrating an individual or a sort of insular little pair of people.
In some respects, big ideas can be a bit too big for a short story - especially if you've only got a couple of thousand words to play with, and you need room for other stuff, like character, description.
I think most short story writers, at one time or another, over the course of several books, naturally skirt near the edge of one genre or another.
I find it satisfying and intellectually stimulating to work with the intensity, brevity, balance and word play of the short story.
For me, writing a short story is much, much harder than writing a novel.
I've always loved short stories. Even before I was a writer, I was reading short stories - there were certain writers where I just felt like they could do in a short story what so many writers needed a whole novel to do, and that was really inspiring to me.
For me, it's been a treat to interact with authors who were publishing when I was a young reader. Judy Blume once gave me a pep talk at a writing conference. I had a short story featured in the same anthology as Beverly Cleary. Magic.
I was a tremendous fan of the original Kenneth Grahame short story, 'The Reluctant Dragon.'
Having judged a few competitions, it's clear that novelists are often the laziest short story writers.
When I started the 'Broken Empire' trilogy, I thought it was a short story, and I didn't know the beginning, middle, or end of even that.
Chekhov - shall I be blunt? - is the greatest short story writer who ever lived.
I think it's a short story writer's duty, as well as writing well about emotions and characters, to write story.
I am writing about people who are alive in the city of New York during mid-20th-century America. And these people are like a character in a play or they are figures in a short story or a novel.
I once wrote a short story called 'The Best Blues Singer in the World,' and it went like this: 'The streets that Balboa walked were his own private ocean, and Balboa was drowning.' End of story. That says it all. Nothing else to say. I've been rewriting that same story over and over again. All my plays are rewriting that same story.
A short story can be really interesting and enriching and powerful, but a novel just contains so much more information and richness and depth. That's what I strive for in my music. I want to create something that's like a longform statement.
The book that first made me want to be a writer is Flannery O'Connor's short story collection 'A Good Man Is Hard To Find.'
Everything has to be pulling weight in a short story for it to be really of the first order.
There was a time in my life when I wasn't sure I'd ever write a short story again because I had started writing novels, and I am fundamentally a lazy person, and the fact is that a novel is a lazy person's form, really. That is, you can amble; you can digress.
A short story is something that you can hold in your mind. You can really analyze how the entire thing works, like a machine.
A short story is the shortest distance between two points; a novel is the scenic route.
The short story, on the other hand, is the perfect American form.
The reader really has to step up to the plate and read a short story.