A short story is a shard, a sliver, a vignette. It's a biopsy on the human condition but it doesn't have this capacity to think autonomously for itself.
A story is a kind of biopsy of human life. A story is both local, specific, small, and deep, in a kind of penetrating, layered, and revealing way.
But I am not sure it would contain any short stories. For the short story is a minor art, and it must content itself with moving, exciting and amusing the reader. ...I do not think that there is any (short story) that will give the reader that thrill, that rapture, that fruitful energy which great art can produce.
The human condition comprehends more than the condition under which life has been given to man. Men are conditioned beings because everything they come in contact with turns immediately into a condition of their existence. The world in which the vita activa spends itself consists of things produced by human activities; but the things that owe their existence exclusively to men nevertheless constantly condition their human makers.
I think that if there's one key insight science can bring to fiction, it's that fiction - the study of the human condition - needs to broaden its definition of the human condition. Because the human condition isn't immutable and doomed to remain uniform forever.
Keep a diary, but don't just list all the things you did during the day. Pick one incident and write it up as a brief vignette. Give it color, include quotes and dialogue, shape it like a story with a beginning, middle and end—as if it were a short story or an episode in a novel. It's great practice. Do this while figuring out what you want to write a book about. The book may even emerge from within this running diary.
Always in the short story there is this sense of outlawed figures wandering about the fringes of society.... As a result there is in the short story at its most characteristic something we do not often find in the novel--an intense awareness of human loneliness.
The human mind has infinite capacity to rationalize, and evil characters just push that boundary a bit. Whatever they're doing, they think it makes sense to do it, and they think they have a good reason to do it. In short, they feel justified.
I guess the freedom - poetic freedom - because the poetic part of short story form is an attempt to say something that's unsayable about one's incarcerated existence, and it's fun to come up with words to represent that condition, and it's fun to pull the tail of absurdity and rile it up, where you giggle at what you do or you get enthralled and in the short story.
The basic quality that any great story must have is a story that illustrates the human condition.
Remember: a story is not a vignette. It has a beginning, middle and an end. It is not merely a snapshot in time.
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.
It is my belief that we as human beings have a need to tell stories - I think it's evolutionary. So you can think of the short story as a literary form, or you can instead think of stories.
The writers are writing human beings, and they're writing about the human condition and how difficult it is to function in that condition. I think it's one of the charms of the show, the idea of redemption and working towards becoming better people, for everybody involved.
The story of the human race is the story of men and women selling themselves short.
The human condition itself inspires me.
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.