A Quote by Zadie Smith

You become a different writer when you approach a short story. When things are not always having to represent other things, you find real human beings begin to cautiously appear on your pages.
I didn't intend to become a short-story writer. I became one because I finished a couple of short stories and realized that's what I wanted to do and could do with children and with all the other things in my life.
Sane and intelligent human beings are like all other human beings, and carefully and cautiously and diligently conceal their private real opinions from the world and give out fictitious ones in their stead for general consumption.
One of the things that's very important, when you're an activist and an organizer like me, is to understand that when things happen of that nature, some people become immobilized and other people begin to find solutions. And Detroit is the kind of city where we begin to find solutions.
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.
When you read Marx (or Jesus) this way, you come to see that real wealth is not material wealth and real poverty is not just the lack of food, shelter, and clothing. Real poverty is the belief that the purpose of life is acquiring wealth and owning things. Real wealth is not the possession of property but the recognition that our deepest need, as human beings, is to keep developing our natural and acquired powers to relate to other human beings.
One easy mistake to make with the first novel is to expand the short story. Some things are better as a story; you cannot dilute things into a novel. I think the first hundred pages of a novel are very important. That's where you set things up: the world, the characters. Once you've set that up, it'll be much easier.
I believe that a writer learns from every story he writes, and when you try different things, you learn different lessons. Working with other writers, as in Hollywood or in a shared world series, will also strengthen your skills, by exposing you to new ways of seeing the work, and different approaches to certain creative challenges.
I want New Story education to be skilling human beings and young people to provide basic human needs. Technology and all other things are icing on the cake.
I myself have always had that secret desire to become something completely different and enact revenge on certain things. So I do that through my movies. My desires become reality in the movie because it can't become real in real life.
Everyone has complexes about their body or their ability and skills and dream of a rebirth into something different. I myself have always had that secret desire to become something completely different and enact revenge on certain things. So I do that through my movies. My desires become reality in the movie because it can't become real in real life.
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.
My short stories have always pushed twenty pages. That's no length for a short story to be. You either do them short like Carver or you stop trying.
Short stories are designed to deliver their impact in as few pages as possible. A tremendous amount is left out, and a good short story writer learns to include only the most essential information.
As human beings, we always have resistance against things that are different and there's always suspicion.
The more original a short-story writer, the odder looking the assortment of things he or she puts together for a story.
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