Find the key emotion; this may be all you need know to find your short story.
Interpretation
Identifying the core emotion can unlock the essence of a story.
F. Scott Fitzgerald emphasizes the importance of emotion in storytelling. By focusing on the key emotion, a writer can distill the narrative to its most powerful elements, which can engage readers effectively and create a profound impact in the form of a short story or any other literary work.
In practice
In a writing workshop, the instructor might quote Fitzgerald to inspire students to delve deeper into the emotional core of their stories.
Don't be so anxious about it,' she laughed. 'I'm not used to being loved. I wouldn't know what to do; I never got the trick of it.' She looked down at him, shy and fatigued. 'So here we are. I told you years ago that I had the makings of Cinderella.' He took her hand; she drew it back instinctively and then replaced it in his. 'Beg your pardon. Not even used to being touched. But I'm not afraid of you, if you stay quiet and don't move suddenly.
The test of a first-rate intelligence is the ability to hold two opposed ideas in mind at the same time and still retain the ability to function.
It was about then [1920] that I wrote a line which certain people will not let me forget: "She was a faded but still lovely woman of twenty-seven."
The words seemed to bite physically into Gatsby.
But you can love more than just one person, can't you?
A sudden gust of rain blew over them and then another - as if small liquid clouds were bouncing along the land. Lightning entered the sea far off and the air blew full of crackling thunder. The table cloths blew around the pillars. They blew and blew and blew. The flags twisted around the red chairs like live things, the banners were ragged, the corners of the table tore off through the burbling billowing ends of the cloths.
Photography is about finding out what can happen in the frame. When you put four edges around some facts, you change those facts.
If that voice that you created that is most alive in the poem isn't carried throughout the whole poem, then I destroy where it's not there, and I reconstruct it so that that voice is the dominant voice in the poem.
There isnβt any particular relationship between the messages, except that the author has chosen them carefully, so that, when seen all at once, they produce an image of life that is beautiful and surprising and deep. There is no beginning, no middle, no end, no suspense, no moral, no causes, no effects. What we love in our books are the depths of many marvelous moments seen all at one time.
I try to bring the audience's own drama - tears and laughter they know about - to them.
Unfortunately many young writers are more concerned with fame than with their own work... It's much more important to write than to be written about.
As for the usefulness of poetry, its uses are many. It is the deification of reality.
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