A Quote by Charles Stross

For a sampler, you could try my short story collection "Wireless". Which contains one novella that scooped a Locus award, and one that won a Hugo, and covers a range of different styles.
Comedy covers such a wide range of different styles that I'm not really qualified to talk on all of them any more than anyone else is.
As a science fiction fan, the Nebula Award and the Hugo Award mean a lot to me.
Within a scantily plotted, novella-style narrative (the movie is an adaptation of a short story by Tom Bissell), single shots become story events that mere mention would spoil.
I had no intention of replacing Arnold [Schwarzenegger]. There were a few things that made me want to do the movie. They were the script which had a different direction to it, and it was a chance to do a very different Quaid. I didn't read the short story until I went to college.Reading the story had a different effect on me of how I pictured him to be and the tone of the story was different. In the story, he's a bit more of an everyman.
Do the story in the way it really demands to be done, which may mean using several different styles or only one style; but it's still about respecting the story.
Do the story in the way it really demands to be done, which may mean using several different styles or only one style; but it's still about respecting the story
I'm in the Rock and Roll Hall of Fame, the Songwriters Hall of Fame. Jimmy Page gave me the MOJO Maverick award. I got an Ivor Novella Award for my very first song.
You've got to eat while you dream. You've got to deliver on short-range commitments, while you develop a long-range strategy and vision and implement it. The success of doing both. Walking and chewing gum if you will. Getting it done in the short-range, and delivering a long-range plan, and executing on that.
Let the free market for wireless services and devices flourish. If the government gets out of the way, the wireless marketplace will continue to be an American success story.
I like to envision the creation of a short story collection as being like putting together a jazz album. Yes, there's logic and literary structures imposed by me, but at the same time, all the tracks are shaped and ordered in a much more improvisational manner. The guiding principle for me is whether or not a story adds a layer or texture to the overall collection.
Having made films, I know very well that the scope of the average 90- to 120-minute movie is about the same narrative heft as a long short story or a novella.
I've never written poetry. I'm not a poet, but I think the nearest you get is either the short story or the novella, in that you can't waste a word. There is no hiding place: everything's got to be seen to relate, and the prose counts.
I think I've been able to build up a wide range of styles in storytelling, using comics in different ways from project to project. I think my art has become more accomplished, although I try to keep it from becoming slick or superficial.
A form wherein we can enjoy simultaneously what is best in both the novel and the short story form. My plan was to create a book that affords readers some of the novel's long-form pleasures but that also contains the short story's ability to capture what is so difficult about being human - the brevity of our moments, their cruel irrevocability.
A geometry implies the heterogeneity of locus, namely that there is a locus of the Other. Regarding this locus of the Other, of one sex as Other, as absolute Other, what does the most recent development in topology allow us to posit?
A short story is a different thing all together - a short story is like a kiss in the dark from a stranger.
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