Quotes About Short stories

My first serious attempts at writing were made in 1868, and I took up two very different lines of composition; I wrote some short stories of a very flimsy type, and also a work of a much more ambitious character, 'The Lives of the Black Letter Saints.'

I recently discovered the work of Giorgio Manganelli, who wrote a collection called 'Centuria,' which contains 100 stories, each of them about a page long. They're somewhat surreal and extremely dense, at once fierce and purifying, the equivalent of a shot of grappa. I find it helpful to read one before sitting down to write.

fundamental difference in approach can make the short stories of Stella Gibbons seem somewhat obvious in their tone. And yet this is misleading: these stories are not obvious at all; they simply adhere to a storytelling convention that has been lost sight of in our quest for greater depth of characterization and psychological insight.

I love telling stories. I love the intimacy between the writer and reader. When you write sketches it's over in two minutes. When you write a book the characters have to have a bit of emotional depth.

I love short stories because I believe they are the way we live. They are what our friends tell us, in their pain and joy, their passion and rage, their yearning and their cry against injustice.

I have some other novels I want to write. I have a lot of short stories - I love the short story.

In the early 2000s, I started selling some short stories to horror markets. I joined the Horror Writers Association.

'The New Yorker's fiction podcast I like a lot, where they have authors pick short stories by other authors that appeared in 'The New Yorker.'

I started writing because I wanted to write scripts, but I wasn't very good at it. Then I started writing short stories, sort of as treatments for the film scripts, and I found I enjoyed writing short stories far more than I enjoyed writing film scripts. Then the short stories got longer and longer and suddenly, I had novels.

I think maybe short stories operate in some of the same ways that poems do. They frame single or small moments and elevate those. They give you insight into more minor dramas maybe, dramas between smaller groups of people.

Oscar Wilde always makes me smile - with respect and admiration. His short stories prove that it is possible to be both sarcastic, even cynical, but deeply compassionate. Just seeing the cover of one of Wilde's books in a bookshop makes me smile.

One of the first lessons that I hope you grasp is that woven into meaningful literature, so tightly that it can't be separated, is a telling lesson, even in stories as short as this one. Always? I ask. Always! she confirms. Good stories teach!

I was always interested in creative writing growing up. From junior high on, I was writing short stories. I also grew up watching movies. My father would take me to everything. Most weeks, I could open the paper having seen every movie listed.

The Beauties" by Anton Chekhov, "The Doll's House" by Katherine Mansfield, "A Perfect Day for Bananafish" by J. D. Salinger, "Brownies" or "Drinking Coffee Elsewhere" both by ZZ Packer, "In the Cemetery Where Al Jolson Is Buried" by Amy Hempel, "Fat" by Raymond Carver, "Indian Camp" by Ernest Hemingway.

But have you read any short stories?" A.J. asked. "Maybe in school. Fairy tales. Or, um, The Red Pony? I think I was supposed to read The Red Pony." "That is a novella," A.J. said.

If you're stuck, reading helps: "The Beauties" by Anton Chekhov, "The Doll's House" by Katherine Mansfield, "A Perfect Day for Bananafish" by J. D. Salinger, "Brownies" or "Drinking Coffee Elsewhere" both by ZZ Packer, "In the Cemetery Where Al Jolson Is Buried" by Amy Hempel, "Fat" by Raymond Carver, "Indian Camp" by Ernest Hemingway.

you're stuck, reading helps: "The Beauties" by Anton Chekhov, "The Doll's House" by Katherine Mansfield, "A Perfect Day for Bananafish" by J. D. Salinger, "Brownies" or "Drinking Coffee Elsewhere" both by ZZ Packer, "In the Cemetery Where Al Jolson Is Buried" by Amy Hempel, "Fat" by Raymond Carver, "Indian Camp" by Ernest Hemingway. We should

We read to know we're not alone. We read because we are alone. We read and we are not alone. We are not alone. My life is in these books, he wants to tell her. Read these and know my heart. We are not quite novels. The analogy he is looking for is almost there. We are not quite short stories. At this point, his life is seeming closest to that. In the end, we are collected works.

The words you can't find, you borrow. We read to know we're not alone. We read because we are alone. We read and we are not alone. We are not alone. My life is in these books, he wants to tell her. Read these and know my heart. We are not quite novels. The analogy he is looking for is almost there. We are not quite short stories. At this point, his life is seeming closest to that. In the end, we are collected works.

The truth is that the writers who most influenced me weren't people categorized as crime writers. I'd say I learned more from John O'Hara, who isn't much read today but whose short stories I really admired, and Hemingway, who I think has lasted pretty good.

I don't think I'd have the stamina, skill or ability to write a novel, but I'd love to write short stories and poetry, because those are my two passions.

I have this uncanny knack of falling for the most irrelevant men, my love story would be comprising of short stories.

When I went to university in Colorado, I was encouraged to write very innovative, experimental things, and some of the short stories in 'Bearded Ladies' are a little bit experimental.

Short stories can be like photographs, catching people at some moment in their lives and trapping the memory for ever . There they are, smiling or frowning, looking sad, happy, serious, surprised ... And behind those smiles and those frowns lie all the experience of life, the fears and delights, the hopes and the dreams