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The effect produced by a short story depends almost entirely on its form.
I think the deepest thing is that many fiction writers tell stories but are not elegant writers. But, we're not writing journalism when we're making literature.
Always, your work is the same: You have to tell a story, you have to make a character. It doesn't matter if there are thousands of dollars, millions behind it, or if there is nothing.
I have no spy stories to tell, because I saw no spies. Nor did I understand, at that time, any opposition between American and Russian national interest.
Story involves action. Action towards an end not to be foreseen (by the reader) but also towards an end which, having been reached, must be seen to have been from the start inevitable.
The reality, certainly in my life, is that we all have love stories that go terribly wrong; we all have horribly broken hearts. And somehow we endure. We're not destroyed by it.
I think it's important to recognise that 'The Da Vinci Code' opened up a vast new audience for a general readership interested in historical detective stories and research into history.
I have to pay attention to what I have felt and observed, then push these responses to an extreme while keeping the story within the realm of being psychologically and emotionally true.
Holly Black is the Real Thing: a gifted writer with a solid grounding in what matters. Her stories are dark and splendid blooms rising from roots sunk deep in myth and tradition.
The story of the Jews in the Bible is replete with incidents of their ingratitude to God for His gifts to them: incidents that just as repeatedly merit and receive punishment.
We like to look out on the world and see ourselves, so we have many, many novels, memoirs, and short stories in Iraq that are largely about Americans in Iraq, doing what Americans do.
These are rules I've picked up along the way to help me remain invisible when I'm writing a book, to help me show rather than tell what's taking place in the story.
My personal feeling is that audiences are crying out for stories they can invest in and feel. I see a lot of big movies that leave me feeling rather numb.
I try to be true to the characters that I've created and sometimes I disagree with them, but their opinions about the story and the characters really matter to me.
In my stories, I think, as I've gotten older, the characters have become stronger and more independent, and more capable of making unconventional decisions.
I've been in a long and happy relationship for 22 years and it's never inspired me to write anything. It's too good - nothing to say. Problems, conflict, that's what makes for good stories.
This is a bad story.” “Sorry. I’m really sorry. I shouldn’t have told you.” “No, you should,” I say. “But—” “I don’t want there to be bad stories and me not know them.