A Quote by Phoebe Robinson

I'm really into short-story collections and essays; they're my jam. — © Phoebe Robinson
I'm really into short-story collections and essays; they're my jam.
I read individual stories a lot in magazines and other places, too, but I really think there's something to be said for reading story collections as collections. That's not true of all story collections, to be honest, but for good ones I think it often is true.
Novels are my favorite to write and read. I do like writing personal essays, too. I'm not really a short story writer, nor do I tend to gravitate to them as a reader.
There are a lot of college writing textbooks that will include essays and short stories, and after reading the story or essay, there will be questions such as "Have YOU Had any experience with a pedophile in YOUR family?" or "When was the last time you saw YOUR mother drunk?" and they're just really good at prompting stories. You answer the question, and sometimes that can spring into a story.
You know, it's sort of common wisdom among New York publishers that short story collections don't make money.
My favorite books to give or get are short story collections. And always paperbacks because they are easy to carry as you travel.
Most publishers seem very reluctant to publish short story collections at all; they bring them out in paperback, often disguised as novels.
I did think reviewers were supposed to be polite about story collections - collections are rather delicate creatures in the literary environment - but not everybody got this memo, I guess.
Some writers keep a tighter rein on that than others. For short story collections I'm definitely in the loose-rein camp.
Many good poets are really essayists who write very short essays.
Collections aren't really planned. I just keep writing short pieces until I have enough for a collection.
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.
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 The novel [The Kite Runner] came about as an expansion of that original, unpublished short story.
Good short-story collections, like good record albums, are almost always hit-and-miss affairs - successful if they include three or four great tracks, wildly successful if they have five. And that's as it should be.
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.
I don't really think of my essays as being about myself. I know it sounds insane, but I just don't think of them as a memoir. They're essays; they're not an autobiography.
It used to be that you would go into a writing program and what you would learn was how to write a short story. You would pick up the magazines and you would be taught from the magazines how to write a short story. Nowadays student writers are learning to write novels because that market is gone, so the ones who are drawn to the form are doing it really for reasons of their own and that's really exciting.
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