A Quote by Francisco Goldman
I don't ever think about the utility of fiction. I don't believe in it or certainly don't require anybody to consider it. A novel or short story might be useful to a reader in all kinds of ways, many of which no writer would ever foresee, which is a good thing.
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The most difficult part of writing a book is not devising a plot which will captivate the reader. It's not developing characters the reader will have strong feelings for or against. It is not finding a setting which will take the reader to a place he or she as never been. It is not the research, whether in fiction or non-fiction. The most difficult task facing a writer is to find the voice in which to tell the story.
When I was a kid, I'd go to the African-American section in the bookstore, and I'd try and find African-American people I hadn't read before. So in that sense the category was useful to me. But it's not useful to me as I write. I don't sit down to write an African-American zombie story or an African-American story about elevators. I'm writing a story about elevators which happens to talk about race in different ways. Or I'm writing a zombie novel which doesn't have that much to do with being black in America. That novel is really about survival.
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.
I've always been a little bit more of a novel reader than a short story reader. I think the first books that made me want to be a writer were novels.
There is not a good work which the hand of man has ever undertaken, which his heart has ever conceived, which does not require a good education for its helper.
As a reader, when the writer gets sentimental, you drift, because there's something fishy going on there. You recognize a moment that's largely about the writer and the writer's own need to believe in something that might not in fact exist. As a reader, you think, 'Where did the story go? Where did the person I'm reading about go?'
In a world which furnishes so many employments which are useful, and so many which are amusing, it is our own fault if we ever know what ennui [boredom] is, or if we are ever driven to the miserable resource of gaming, which corrupts our dispositions, and teaches us a habit of hostility against all mankind.
I tend to think that the onus is on the writer to engage the reader, that the reader should not be expected to need the writer, that the writer has to prove it. All that stuff might add up to a kind of fun in the work. I like things that are about interesting subjects, which sounds self-evident.
There is no one kind of thing that we 'perceive' but many different kinds, the number being reducible if at all by scientific investigation and not by philosophy: pens are in many ways though not in all ways unlike rainbows, which are in many ways though not in all ways unlike after-images, which in turn are in many ways but not in all ways unlike pictures on the cinema-screen--and so on.
Fiction is truth. I think fiction is the truest thing there ever was. My whole effort is to remove that distinction. The writer is the midwife of understanding. It's very important for me to tell politics like a story, to make it real.
Good writing is good writing. In many ways, it’s the audience and their expectations that define a genre. A reader of literary fiction expects the writing to illuminate the human condition, some aspect of our world and our role in it. A reader of genre fiction likes that, too, as long as it doesn’t get in the way of the story.
I don't impose political responsibilities on my fiction. The last thing I would ever want to do, for example, is write a novel that would appear to want to tell people what to think about the immigration debate, and I would never write a novel whose sole ambition was to give a "positive" view of immigrants. I'm for open borders, by the way - down with the nation state!
I guess I would say that most of what I've learned about storytelling derives from novels and short stories. I cannot think of a novel or story, or a novelist or story writer, who thinks in terms of three-act structure.
A ten- or twelve-page story seems too easy, which is a funny thing to say considering that writing a decent short story is devastatingly difficult. Yet it still seems easier than a novel. You can turn a short story on a single good line - ten pages of decent writing and one good moment.
My only obligation as a fiction writer is to the story, to make it good, so good the busy reader doesn't feel that flipping those pages was a waste of time. And I still believe that.
Once, I thought I had a novel, and it turned out it was only a short story. I wrote about 800 pages, but it ended up being a short story. And if it ever happens to me again, I Will Go Insane.
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