Short Story Quotes

Short stories demand a certain awareness of one's own intentions, a certain narrowing of the focus.

I would really hope this would make people see the short story as an important art, not just something you played around with until you got a novel.

I write short stories when a little idea occurs to me, that I know isn't a part of a novel that will stand by itself and should be concentrated.

I believe that the short story is as different a form from the novel as poetry is, and the best stories seem to me to be perhaps closer in spirit to poetry than to novels.

Short story characters, mine anyway, are usually driven by impulse, not so much by their histories and the choices that they have to make.

I've always been a little bit more of a novel reader than a short story reader. I think the first books that made me want to be a writer were novels.

When I started writing short stories, I thought I was writing a novel. I had like 60 or 70 pages. And what I realized was that I don't write inner monologue. I don't want to talk about what somebody is thinking or feeling. I wanted to try to show it in an interesting way. And so what I realized was that I was really writing a screenplay.

Writing a short story is like having a short intense affair, whereas writing a novel is like a long rich marriage.

The short story, I should point out, is perforce a labor of love in today's literary world; there's precious little economic incentive to write one.

A short story is simplification to the highest degree

So, short stories have an even harder time, because they tend to get read during the day, between other things. They're interstitial. And yet the content of short stories tends to be very much "nighttime" content.

Short fiction seems more targeted - hand grenades of ideas, if you will. When they work, they hit, they explode, and you never forget them. Long fiction feels more like atmosphere: it's a lot smokier and less defined.

When I was in the Peace Corps I never made a phone call. I was in Central Africa; I didn't make a phone call for two years. I was in Uganda for another four years and I didn't make a phone call. So for six years I didn't make a phone call, but I wrote letters, I wrote short stories, I wrote books.

A short story relies on those values that make poetry and jazz what they are: tension, rhythms, inner beat, into unforeseen within foreseen parameters

My short stories are like soft shadows I have set out in the world, faint footprints I have left. I remember exactly where I set down each and every one of them, and how I felt when I did. Short stories are like guideposts to my heart.

Sometimes I do work on a longer manuscript in tandem with one or two shorter pieces - whether it's a short story or an essay (though I don't write many of the latter).

Through panel moderations and talks around culture, politics and identity I gradually gained opportunities to write in my own voice and not that of the brand. I'm interested in a lot of the languages that drive our culture. I'm interested in user experience as language or how societal malaise takes root. So through essays and short stories I began exploring some of these things.

I am a toggler. I always have three or four projects going, short stories alongside novels and essays. When one project is terrible, there's somewhere else hopeful to look.

Do three things each night before you go to bed: read a poem, read a short story, read an essay.

For me, the short story is not a character sketch, a mouse trap, an epiphany, a slice of suburban life. It is the flowering of a symbol center. It is a poem grafted onto sturdier stock.

Short stories are like individual jewel stones on a necklace, wonderful in themselves like standalone gleaming entities of semantic intensity.

The short story, its course plotted and its form proscribed, has become too efficient... but efficiency is not the most, it is perhaps the least, important among the undoubted elements of good literature

[Red Dirt Marijuana] contains most of the great short stories in English that are not by Mr. Hemingway or Mr. O'Hara.

I notice a lot of younger artists have difficulty telling stories. They might have short stories where they express themselves well, but they don't really know how to tell stories with characters. That craft just passed them by.

Some stories I write in Swedish, some in English. Short stories I've almost exclusively written in English lately, mostly because there's such a small market for them in Sweden and it doesn't really pay either. So, the translation goes both ways. What also factors in is that I have a different voice in English, which means that a straight translation wouldn't be the same as if I'd written it in English originally.

A short story is "a short prose narrative, requiring from a half hour, to one or two hours in its perusal...having conceived, with deliberate care, a certain unique or single effect to be wrought out.

I used to write things for friends. There was this girl I had a crush on, and she had a teacher she didn't like at school. I had a real crush on her, so almost every day I would write her a little short story where she would kill him in a different way.

I see a correlation between short stories and songs, because of their length and for what they're meant to evoke. Combine certain words with melodies and it all becomes very moving.

In all honesty, at that time, I never saw myself as an author... I was just a Mom in a state of panic, trying to enter a short story contest to win the prize money in order to keep the lights on in my home.

Much contemporary verse reads like failed short-short stories rather than failed poetry.

I used to write my own versions of famous tales, such as William Tell or Robin Hood, and illustrate them myself, too. When I entered my teens, I got more into horror and science fiction and wrote a lot of short stories. A literary education complicated things and for many years I wrote nothing but poetry. Then I got back to story-telling.

Don't wait for success, but for the respect and interest of those who read you. At the start it could be a classmate, someone who shares your interests. Before sending off the manuscript for a novel to a publishing house, it would be a good idea to try writing short stories, and publishing them in a local magazine.

A bad short story or novel or poem leaves one comparatively calm because it does not exist, unless it gets a fake prestige throughbeing mistaken for good work. It is essentially negative, it is something that has not come through. But over bad criticism one has a sense of real calamity.

I'll give you the sole secret of short-story writing, and here it is: Rule 1. Write stories that please yourself. There is no rule 2. The technical points you can get from Bliss Perry. If you can't write a story that pleases yourself, you will never please the public. But in writing the story forget the public.

As writers we live life twice, like a cow that eats its food once and then regurgitates it to chew and digest it again. We have a second chance at biting into our experience and examining it. ...This is our life and it's not going to last forever. There isn't time to talk about someday writing that short story or poem or novel. Slow down now, touch what is around you, and out of care and compassion for each moment and detail, put pen to paper and begin to write.

Many people have said to me, "What a pity you had such a big family to raise." "Think of the novels and the short stories and the poems you never had time to write because of that." And I looked at my children and I said, "These are my poems, these are my stories."

I first read Wendell Berry's short-story collections, "Fidelity" and then "Watch with Me." They just knocked my socks off. The characters and the fellowship of the small town reminded me of my own small town in Illinois.Then I discovered that, much like J.R.R. Tolkien and C.S. Lewis, that all of Berry's fiction was centered in this same town.

That same night, I wrote my first short story. It took me thirty minutes. It was a dark little tale about a man who found a magic cup and learned that if he wept into the cup, his tears turned into pearls. But even though he had always been poor, he was a happy man and rarely shed a tear. So he found ways to make himself sad so that his tears could make him rich. As the pearls piled up, so did his greed grow. The story ended with the man sitting on a mountain of pearls, knife in hand, weeping helplessly into the cup with his beloved wife's slain body in his arms.

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.

The literature now is so opaque to the average person that you couldn't take a science-fiction short story that's published now and turn it into a movie. There'd be way too much ground work you'd have to lay. It's OK to have detail and density, but if you rely on being a lifelong science-fiction fan to understand what the story is about, then it's not going to translate to a broader audience.

I like fiction that deals with matters that are of burning importance to us in our private lives. And not all short stories are like that. In general, short stories - and maybe this is a little bit off-topic - but I think short stories have this bad association with, like, waiting rooms.

I don't write poetry or short stories. I don't like to write articles usually. I tend to really only want to be focused on writing novels. It's one of the real advantages I've had over the years. I've only been good at one thing. It helps to be limited.

Writers need restrictions. If somebody just says, "Hey, do you want to write a novel, or an article, or a movie, or a short story, you get shut down."

The novel...creates a bemusing effect. The short story, on the other hand wakes the reader up. Not only that, it answers the primitive craving for art, the wit, paradox and beauty of shape, the longing to see a dramatic pattern and significance in our experience.

I love fiction. I like reading short stories. Cupcakes, pop songs, Polaroids, and short stories. They all raise and answer questions in a short space. I like Lorrie Moore. Amy Hempel. Tim O'Brien. Raymond Carver. All the heartbreakers.

I mean, first, almost all writers these days teach because they don't make enough money publishing to live on, to support themselves - people like Tobias Wolff, Anne Beattie, Amy Hempel, Stuart Dybek; a lot of short story writers, for one thing.

A short story is a sprint, a novel is a marathon. Sprinters have seconds to get from here to there and then they are finished. Marathoners have to carefully pace themselves so that they don't run out of energy (or in the case of the novelist-- ideas) because they have so far to run. To mix the metaphor, writing a short story is like having a short intense affair, whereas writing a novel is like a long rich marriage.

A short story is a love affair, a novel is a marriage. A short story is a photograph; a novel is a film.

At this rate, I'd be lucky if I wrote a page a day. Then I knew what the problem was. I needed experience. How could I write about life when I'd never had a love affair or a baby or even seen anybody die? A girl I knew had just won a prize for a short story about her adventures among the pygmies in Africa. How could I compete with that sort of thing?

Traditionally, people have been adapting novels and short stories forever. Now, they're doing it simultaneously, with an eye towards writing the movie before the novel has even come out or been finished. It's a function of this hyper-accelerated society we live in, where everyone is trying to short circuit the process.