The way I work, I have no ideas. But I do hope everything in a short story I write brings the reader deeper into the story and that includes even the smallest details, which will resonate throughout the story and, often, help foster certain visual rhythms in the story. And I’m pretty sure that if I could read Chekov in Russian I would probably find a couple there. IvyPanda. The men who fished the river were mostly old men, men who would stay in one place for hours, motionless as the stumps and rocks they sat on. First sentences are crucial, and I usually spend more time on them. He lifted the sacks from the truck bed and emptied them onto the ground between him and Leonard. There’s something inexplicable about it, but I’m comfortable with that. Mountain laurel slapped against Lanny’s face and arms, and he scraped his hands and elbows climbing straight up rocks there was no other way around. Leonard lifted each stalk, looking at it the same way Lanny had seen buyers look at tobacco. Plus I got some cold beers inside. Lanny gagged slightly but kept most of the whiskey down. The stories are certainly entertaining and well-written, down deep into some of the good stuff of southern Appalachia, but they mostly all seem too smooth in a sense. In particular, the main character is firmly convinced he can easily avoid any pitfalls. I think if I did, my writing would become stilted and artificial. The words were soothing, like rain on a tin roof. In these two books more particularly, I wanted the movement, the way you read the stories, the order, to add, I hope, another level—almost like listening to a CD by a really good band, where the sum is more than the parts. , is a well-known example of comic relief. 31FS: Still with Frank O’Connor in mind, would you agree to say that short story writing allows for a greater sense of wreckage than the novel because it is not concerned with being a good, long-term companion for the reader? “Let’s show Leonard what you done brought him.”. 16RR: Yes, I think that is the ideal way to read a short story. Lanny crumpled the bills in his fist and stuffed them into his pocket, but he did not get back in the truck. The story comes, it grows; the writer does not know where it is going. Lanny watched its body surge through the water, straight and sleek as a torpedo, before disappearing under the far bank. 1 See Janet Maslin, “Chained to the Verities of Hunger and Heartbreak. “Get them your ownself,” the woman said and disappeared into the back of the trailer. He tried to remember what had brought him this far up the creek. He parked by the bridge and walked upriver toward where Caney Creek entered. Do you have a favorite Poe story? “Put them over there next to my tomatoes. FS: Let’s return to your current news: did you take part in the selection of stories making up. Frédérique Spill is Associate Professor of American literature; she teaches at the University of Picardy – Jules Verne in Amiens, France. His leg didn’t hurt nearly as much now as it had before, and he told himself he could probably walk on it if he had to, once Linwood Toomey got the trap off. He waded through waist-high water to reach the left side of the waterfall, then began climbing, using juts and fissures in the rock for leverage and resting places. Lanny would slap the speckle’s head against a rock and feel the fish shudder in his hand and die. Do you feel, together with him, that it is important that your reader should read a story of yours—any story—“at one sitting” for it to achieve its full effect? ""Speckled Trout" by Ron Rash." Many of the stories are a bit one-note, and several of the stories end a little too early. There are no discussion topics on this book yet. Linwood Toomey took a flat glass bottle from his back pocket and uncapped it. Indirectly, the poet gives us clues about this loss. Last time, I asked you how you felt as a writer whose novels were adapted by movie writers. FS: Eudora Welty concludes one of her well-known essays on writing with the following remark: “a story’s emphasis may fall on any of the things that make it up—on characters, on plot, on its physical or moral world, in sensory or symbolic form.” She thus inventories the components of the short story, suggesting that “the making of the written story” is merely a matter of emphasis.
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