A Quote by Tobias Wolff
The short story, on the other hand, is the perfect American form.
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The events of life have never fallen into the form of the short story or the form of the poem, or into any other form.Yourown consciousnessisthe only formyouneed.
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.
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.
If you are working in an office, where do you find the time to write a novel? But you can finish a short story in five pages. Furthermore, a short story is a perfect place to learn the craft
If you are working in an office, where do you find the time to write a novel? But you can finish a short story in five pages. Furthermore, a short story is a perfect place to learn the craft.
It's probably why I'm a short story writer. I tend to remember things in the past in narrative form, in story form, and I grew up around people who told stories all the time.
The short story is an imploding universe. It has all the boil of energy inside it. A novel has shrapnel going all over the place. You can have a mistake in a novel. A short story has to be perfect.
I regret that there aren't more short stories in other magazines. But in a certain way, I think the disappearance of the short-story template from everyone's head can be freeing. Partly because there's no mass market for stories, the form is up for grabs. It can be many, many things. So the anthology is very much intended for students, but I think we're all in the position of writing students now. Very few people are going around with a day-to-day engagement with the short story.
Make the short story tremendously succinct - with a very short pulse or rhythm - and the closest selection of detail - in other words summarise intensely and deeply and keep down the lateral development. It should be a little gem of bright, quick, vivid form
I can't stand the short story form, which, after all, is a magazine form.
On the one hand I wonder, Was this really my story to tell? On the other hand, I just wanted the story to be told. But the truth is that I didn't think anybody was going to read it.
Short stories consume you faster. They're connected to brevity. With the short story, you are up against mortality. I know how tough they are as a form, but they're also a total joy.
A brief short story may require only a few paragraphs after the climax. On the other hand, in his massive novel 'The World According to Garp,' John Irving's denouement consisted of 10 separate sections, each devoted to an individual character's fate and each almost a story in itself.
American violence is public life, it's a public way of life, it became a form, a detective story form. So I should think that any number of black writers should go into the detective story form.
On the other hand, now that I'm not dependent on fiction for my income, I've been writing more short stories despite the fact that there's no real paying market for short horror other than Cemetery Dance.
The form is mechanic when on any given material we impress a predetermined form. The organic form, on the other hand, is innate, it shapes as it develops itself from within.
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