A Quote by Edgar Allan Poe
A short story must have a single mood and every sentence must build towards it.
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Writing is linear and sequential; Sentence B must follow Sentence A, and Sentence C must follow Sentence B, and eventually you get to Sentence Z. The hard part of writing isn't the writing; it's the thinking. You can solve most of your writing problems if you stop after every sentence and ask: What does the reader need to know next?
I always tell my writing students that every good piece of writing begins with both a mystery and a love story. And that every single sentence must be a poem. And that economy is the key to all good writing. And that every character has to have a secret.
What a nightmare it would be if we individually had to criminalise every single abuse of every single commodity, market or financial product. There are thousands of these and new ones being invented every day. Such an approach would have disastrous implications for regulation and policy-making. Any slide towards it must be resisted.
A successful politician must not only be able to read the mood of the public, he must have the skill to get the public on his side. The public is moved by mood more than logic, by instinct more than reason, and that is something that every politician must make use of or guard against.
I love the necessary ambiguity of short stories - there simply isn't time to render every detail, so much of the story that orbits the literal prose must happen in the reader's imagination. Who knows, maybe the dwindling attention spans means a lucrative future for short story writers.
To knot a sentence up properly, it has to be thought out carefully, and revised. New phrases have to be put in; sudden changes of subject must be introducted; verbs must be shifted to unsuspected localities; short words must be excised with ruthless hand; archaisms must be sprinkled like sugar-plums upon the concoction; the fatal human tendency to say things straightforwardly must be detected and defeated by adroit reversals; and, if a glimmer of meaning yet remain under close scrutiny, it must be removed by replacing all the principal verbs by paraphrases in some dead language.
The short story is at an advantage over the novel, and can claim its nearer kinship to poetry, because it must be more concentrated, can be more visionary, and is not weighed down (as the novel is bound to be) by facts, explanation, or analysis. I do not mean to say that the short story is by any means exempt from the laws of narrative: it must observe them, but on its own terms.
Civilians are arrested every single day - including innocent ones - and they must wait until their day in court in order to argue their side of the story. Police officers must be subjected to the same rules.
I think a novelist must be more tender with living or 'real' people. The moral imperative of having been entrusted with their story looms before you every day, in every sentence.
We must always work, and a self-respecting artist must not fold his hands on the pretext that he is not in the mood. If we wait for the mood, without endeavoring to meet it halfway, we easily become indirect and apathetic.
I feel with this film that as long as we tell Philomena's story and as long as we're true to her, which Jeff and Steve have already done by writing the story... we must not sell her short;. She's a most remarkable woman and all my concern was that we must be absolutely true to her story.
It's difficult to write a really good short story because it must be a complete and finished reflection of life with only a few words to use as tools. There isn't time for bad writing in a short story.
A short story is confined to one mood, to which everything in the story pertains. Characters, setting, time, events, are all subject to the mood. And you can try more ephemeral, more fleeting things in a story - you can work more by suggestion - than in a novel. Less is resolved, more is suggested, perhaps.
Well, as a short-story writer, I don't think there are any weaknesses to the genre itself. I guess I would say that the difficulty of the form is that one must create an entire world in five to 30 pages, as opposed to 300. There is very little room for fat - you must be economical. And you must begin as close to the end as you possibly can.
The perfect story is one you can retell in three minutes, and every single sentence is interesting.
But I am not sure it would contain any short stories. For the short story is a minor art, and it must content itself with moving, exciting and amusing the reader. ...I do not think that there is any (short story) that will give the reader that thrill, that rapture, that fruitful energy which great art can produce.
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