A Quote by W. H. Auden

Hemingway is terribly limited. His technique is good for short stories, for people who meet once in a bar very late at night, but do not enter into relations. But not for the novel.
Once I had started, I discovered the secret pleasure of writing a novel. It's such an immersive, deep commitment. With short stories, you're continually having to start again from scratch, but with a novel you only need one good idea every few years.
I love short stories - reading and writing them. The best short stories distill all the potency of a novel into a small but heady draught. They are perfect reading material for the bus or train or for a lunchtime break. Everything extraneous has been strained off by the author. The best short stories pack the heft of any novel, yet resonate like poetry.
You can't write a novel all at once, any more than you can swallow a whale in one gulp. You do have to break it up into smaller chunks. But those smaller chunks aren't good old familiar short stories. Novels aren't built out of short stories. They are built out of scenes.
The rules seem to be these: If you have written a successful novel, everyone invites you to write short stories. If you have written some good short stories, everyone wants you to write a novel. But nobody wants anything until you have already proved yourself by being published somewhere else.
I still read Hemingway. I still read his short stories because they're so good. He doesn't waste any words.
It took me a long time to know enough about writing to really write short stories. You can't just immerse yourself, as you do in a novel, and see where everything goes. Novels are a very flexible, accommodating form. Short stories aren't.
I'm too short to host a late-night talk show. It's like the bar at an amusement-park ride. You have to be six foot two or over.
I would also suggest that any aspiring writer begin with short stories. These days, I meet far too many young writers who try to start off with a novel right off, or a trilogy, or even a nine-book series. That's like starting in at rock climbing by tackling Mt. Everest. Short stories help you learn your craft.
I hadn't meant to do the pattern of publishing short stories and then a novel. I thought, 'I'm a novelist. I know it.' But you have to kind of write a lot of bad novels before you can write a good one, I think, so I did that. But meanwhile, I loved the short stories I did.
I started out of course with Hemingway when I learned how to write. Until I realized Hemingway doesn't have a sense of humor. He never has anything funny in his stories.
I've read short stories that are as dense as a 19th century novel and novels that really are short stories filled with a lot of helium.
There's nothing terribly wrong with The November Man in a serviceable late-night cable TV sort of way but neither is there anything terribly right about it. It's unnecessary and derivative.
I've always loved short stories. Even before I was a writer, I was reading short stories - there were certain writers where I just felt like they could do in a short story what so many writers needed a whole novel to do, and that was really inspiring to me.
A short story I have written long ago would barge into my house in the middle of the night, shake me awake and shout, 'Hey,this is no time for sleeping! You can't forget me, there's still more to write!' Impelled by that voice, I would find myself writing a novel. In this sense, too, my short stories and novels connect inside me in a very natural, organic way.
This was my first novel [The Dissemblers ]. I've never seriously written short stories, and actually find short stories much more intimidating as an art form than novels.
The first fiction I ever wrote was short stories. I was writing short stories in my late teens and early twenties, and I think it's how you teach yourself to write.
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