A short story is the ultimate close-up magic trick -- a couple of thousand words to take you around the universe or break your heart.
Neil GaimanRead
Because, if one is writing novels today, concentrating on the beauty of the prose is right up there with concentrating on your semi-colons, for wasted effort.
Interpretation
Focusing on the aesthetics of writing can be as futile as obsessing over punctuation in modern novels.
Neil Gaiman highlights the importance of substance over style in writing novels. He suggests that today's readers prioritize the narrative and emotional impact of a story over the technical beauty of prose or meticulous punctuation, implying that writers should focus on what truly matters to engage their audience.
In practice
This quote could be used in a creative writing class to emphasize the importance of storytelling over technical details.
A short story is the ultimate close-up magic trick -- a couple of thousand words to take you around the universe or break your heart.
Jesus. Low-Key Lyesmith," said Shadow. and then he heard what he was saying and he understood. "Loki," he said. "Loki Lie-smith." "You're slow," said Loki, "but you get there in the end." And his lips twisted into a scarred smile and the embers danced in the shadows of his eyes.
As a teenager I wrote to R.A. Lafferty. And he responded, too, with letters that were like R.A. Lafferty short stories, filled with elliptical answers to straight questions and simple answers to complicated ones.
The important thing to understand about American history, wrote Mr. Ibis, in his leather-bound journal, is that it is fictional, a charcoal-sketched simplicity for the children, or the easily bored.
Nothing’s changed. You’ll go home. You’ll be bored. You’ll be ignored. No one will listen to you, really listen to you. You’re too clever and too quiet for them to understand. They don’t even get your name right.
I like the stars. It's the illusion of permanence, I think. I mean, they're always flaring up and caving in and going out. But from here, I can pretend...I can pretend that things last. I can pretend that lives last longer than moments. Gods come, and gods go. Mortals flicker and flash and fade. Worlds don't last; and stars and galaxies are transient, fleeting things that twinkle like fireflies and vanish into cold and dust. But I can pretend.
I think what's really the most ideal thing is for the player themselves, within their own imagination, to carve out what they view as being the essence of the character.
For me, writing [was] a question of survival...I could not trust anyone, even my family. The atmosphere was so poisoned. People even in your own family could turn you in.
Sure, they were simple desk lamps with only a minimal amount of movement, but you could immediately tell that Luxo Jr. was a baby, and that the big one was his mother. In that short little film, computer animation went from a novelty to a serious tool for filmmaking.
When I'm writing a book, you can't think about your audience. You're going to be in big trouble if you think about it. You're got to write from deep inside.
Iconic clothing has been secularized. . . . A guardsman in a dress uniform is ostensibly an icon of aggression; his coat is red as the blood he hopes to shed. Seen on a coat-hanger, with no man inside it, the uniform loses all its blustering significance and, to the innocent eye seduced by decorative colour and tactile braid, it is as abstract in symbolic information as a parasol to an Eskimo. It becomes simply magnificent.
Art is the easiest thing in my life, and that's ironic. It doesn't mean I've worked little on it, but it's the only thing I never had to... I have no fear. I could take risks.
Subscribe for the occasional hand-picked quote. No noise.