A Quote by Rex Stout
There are two kinds of characters in all fiction, the born and the synthetic. If the writer has to ask himself questions - is he tall, is he short? - he had better quit.
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I'm more thrilled by the short fiction than I expected to be. I've found more pleasure in reading short fiction than I used to. By seeing what kinds of thinking are going on in short fiction. I was also surprised by the panic I've felt, especially at first, when we'd put an issue to bed and then realized we had to put another one together.
There are two questions that you ask yourself as a writer, and one of them is, 'But why?' The question that takes the book forward is, 'What if? What if x y or z happened? How would those characters react?'
Someday, as an exercise, you might ask a writer to give himself the questions he wants to answer. If you really want a writer's opinions, you have to ask for them. What you read might surprise you.
No one can teach writing, but classes may stimulate the urge to write. If you are born a writer, you will inevitably and helplessly write. A born writer has self-knowledge. Read, read, read. And if you are a fiction writer, don't confine yourself to reading fiction. Every writer is first a wide reader.
No one can teach writing, but classes may stimulate the urge to write. If you are born a writer, you will inevitably and helplessly write. A born writer has self-knowledge. Read, read, read. And if you are a fiction writer, dont confine yourself to reading fiction. Every writer is first a wide reader.
Unlike most wars, which make rotten fiction in themselves - all plot and no characters, or made-up characters - Vietnam seems to be the perfect mix: the characters make the war, and the war unmakes the characters. The gods, fates, furies had a relatively small hand in it. The mess was man-made, a synthetic, by think tank out of briefing session.
Could we say that the short short is to other kinds of fiction somewhat as the lyric is to other kinds of poetry? The lyric does not seek meaning through extension, it accepts the enigmas of confinement. It strives for a rapid unity of impression, an experience rendered in its wink of immediacy. And so too with the short short.
There are two questions a man must ask himself: The first is 'Where am I going?' and the second is 'Who will go with me?' If you ever get these questions in the wrong order you are in trouble.
In my opinion there are two basic questions that any writer tries to answer. "What is?" is the question non-fiction asks. "What if?" is the question fiction asks. That's the question I'm more interested in.
There are very few works of fiction that take you inside the heads of all characters. I tell my writing students that one of the most important questions to ask yourself when you begin writing a story is this: Whose story is it? You need to make a commitment to one or perhaps a few characters.
I didn’t do anything. I don’t have an explanation, I don’t know why I wanted to write. I did some short stories at that time, but very infrequently. I quit my job just to quit. I didn’t quit my job to write fiction. I just didn’t want to work anymore
If you want to be a fiction writer, you need to start reading like a fiction writer. To do so, you need to learn about craft so that the next time you pick up a contemporary short story, you're reading it not as an abstraction floating in formaldehyde, existing simply for the theorist's dull scalpel to saw on, but as a concrete thing constructed out of words and shaped by syntax, brought to life by a writer who made several thousand choices, some large, some small, before letting that imperfect beauty, the story, walk on its own two feet.
Every man, every woman who has to take up the service of government, must ask themselves two questions: 'Do I love my people in order to serve them better? Am I humble and do I listen to everybody, to diverse opinions in order to choose the best path?' If you don't ask those questions, your governance will not be good.
Every man, every woman who has to take up the service of government, must ask themselves two questions: ‘Do I love my people in order to serve them better? Am I humble and do I listen to everybody, to diverse opinions in order to choose the best path.’ If you don’t ask those questions, your governance will not be good.
It is intelligent to ask two questions: (1) Is it possible? (2) Can I do it?. But it is unintelligent to ask these questions: (1) Is it real? (2) Has my neighbor done it?
I don't believe a poet has a better hold on truth or morality than a fiction writer has. And I don't think a fiction writer has anything over a journalist. It's all about the good word, properly inserted.
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