A Quote by Roger Zelazny

My favorite form is the short story. From an aesthetics stand point you really have to pare down to the bone. You can't write a throw-away scene. — © Roger Zelazny
My favorite form is the short story. From an aesthetics stand point you really have to pare down to the bone. You can't write a throw-away scene.
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.
I can't stand the short story form, which, after all, is a magazine form.
I don't pare down much. I write the beginning of a story in a notebook and it comes out very close to what it will be in the end. There is not much deliberateness about it.
A people do not throw their geniuses away. And if they are thrown away, it is our duty as artists and as witnesses for the future to collect them again for the sake of our children and, if necessary, bone by bone.
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.
A form wherein we can enjoy simultaneously what is best in both the novel and the short story form. My plan was to create a book that affords readers some of the novel's long-form pleasures but that also contains the short story's ability to capture what is so difficult about being human - the brevity of our moments, their cruel irrevocability.
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.
Everything you write makes you better. But if you really need a tip, here's one: a good story begins in opposition to its ending. That means you work out how it finishes first, and then begin the story as far away from that point - in terms of character development - as you can.
There are a limited number of things we can be personal with. This understanding can bring us to pare down to what we really need, and to let go of that which we cannot hold in caring awareness. We may learn that having too much can be another form of poverty.
We are a people. A people do not throw their geniuses away. If they do, it is our duty as witnesses for the future to collect them again for the sake of our children. If necessary, bone by bone.
When I'm working on a short story, I could duck into a bathroom at a crowded party and write a scene, which is to say I can work in a very incremental way.
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.
It took me 14 years to write 'Crazy Brave' because I kept changing the form and I also kept running away from the story. I said I don't really want to write about myself. But it's about writing about memory.
But long story short, I didn't start doing stand-up because I wanted to have a TV show or be an actor or even wanted to write sketch comedy. I got into stand-up because I love stand-up.
...a story should be like a roller coaster. That is to say before writing a really cruel scene, I have to lift the people's spirits, for example, with a fun scene... Before writing a scene of pure despair, we must go through scenes of hope. And indeed, when I write, all of this amuses me very much.
I know exactly what it's like to stand on top of a tall building or in a high place and look down and go, 'Ohhhh my God.' I try to get into that place every time I write a scene like that. And definitely when I write the action scenes, I get overheated and my heart goes really fast. I get very involved.
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