A Quote by Cullen Bunn

My first short story sale was to a magazine that sat on the story forever... and never did publish it. — © Cullen Bunn
My first short story sale was to a magazine that sat on the story forever... and never did publish it.
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.
In March of 2001, I revisited the short story, and found that thought it did not work well as a short story, it might work much better as a longer one. The novel [The Kite Runner] came about as an expansion of that original, unpublished short story.
I have always loved westerns... supernatural westerns in particular. One of my first professional short story sales was a horror/western story. It wasn't so great, though, so I'm glad the magazine folded before it saw print.
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.
My highest point was the first thing I won, a short story competition in a women's magazine in the Eighties. It was the first time I'd had my writing validated, and the first thing I'd ever shown anyone else.
'The Story Of A Marriage' was initially a short story I wrote, and before that, it was a family story. It was a story that a relative of mine told me about herself in the '50s, and it was a story that no one else in my family believes, and it might not be true.
At 18, my first short story was published - I was paid a penny a word by a science fiction magazine. I continued to write, and five years later I published my first novel, 'Sweetwater.'
In Mosca’s experience, a ‘long story’ was always a short story someone did not want to tell.
I decided to make myself a little less precious with my storytelling. I think you can see from the first three pieces in the book that I have a long term relationship with the short story as a form and I really love an elegantly crafted story that has several elements that come together in a way that is emotionally complex and different from when we started. That kind of crystalline, perfect, idealized thing that the short story as a genre has come to represent.
The basis of almost every argument or conclusion I can make is the axiom that the short story can be anything the author decides it shall be;...In that infinite flexibility, indeed lies the reason why the short story has never been adequately defined.
I never really wanted to be a writer. I know it sounds strange, but I honestly believe that I didn't pick the story; the story has picked me. I've written absolutely no fiction before 'The Immortals of Meluha.' Not even a short story in school - absolutely nothing.
My only requirement for that first story was that there had to be a fight or an explosion on every page. Naturally, no one wanted to publish it, but I liked the character, did a few stories to keep my hand in.
When I first started writing, I did mostly short fiction, and I'd work on a short story and get near to being done and have no idea what I'd work on next, and then I'd panic.
My first instinct was to cast as close to the short story as possible, but then I realized that I needed actors who could go for it and that they had to function well as a couple in a love story.
Though it may not seem like it, I never try to write about a place, per se; it's always, first and last, about story. Story is everything. Story and a bit of attitude.
The Work always leaves you with less of a story. Who would you be without your story? You never know until you inquire. There is no story that is you or that leads to you. Every story leads away from you. Turn it around; undo it. You are what exists before all stories. You are what remains when the story is understood.
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