Southerners love a good tale. They are born reciters, great memory retainers, diary keepers, letter exchangers . . . great talkers.
Eudora WeltyRead
A short story is confined to one mood, to which everything in the story pertains. Characters, setting, time, events, are all subject to the mood. And you can try more ephemeral, more fleeting things in a story - you can work more by suggestion - than in a novel. Less is resolved, more is suggested, perhaps.
Interpretation
A short story should maintain a singular emotional tone throughout, where all elements contribute to that mood.
Eudora Welty emphasizes that in short stories, the mood is paramount and encompasses all aspects of the narrative, such as characters, setting, and events. The brevity of the form allows for a more suggestive and open-ended exploration of themes, giving writers the freedom to evoke emotion with less resolution and more implication compared to longer forms like novels.
In practice
Using this quote during a workshop on short story writing to emphasize the importance of mood.
Southerners love a good tale. They are born reciters, great memory retainers, diary keepers, letter exchangers . . . great talkers.
Writing a story or a novel is one way of discovering sequence in experience, of stumbling upon cause and effect in the happenings of a writer's own life.
A sheltered life can be a daring life as well. For all serious daring starts from within.
For the source of the short story is usually lyrical. And all writers speak from, and speak to, emotions eternally the same in all of us: love, pity, terror do not show favorites or leave any of us out.
The events in our lives happen in a sequence in time, but in their significance to ourselves they find their own order the continuous thread of revelation.
The first act of insight is throw away the labels. In fiction, while we do not necessarily write about ourselves, we write out of ourselves, using ourselves; what we learn from, what we are sensitive to, what we feel strongly about--these become our characters and go to make our plots. Characters in fiction are conceived from within, and they have, accordingly, their own interior life; they are individuals every time.
In every culture, in every language, there is expressive play, expressive word play; there's language use to different purposes that we would call poetry.
The very paradigm of revolution, of right versus wrong, good versus bad, is a relic with no bearing on the present. Yet artists, exhibitions, and curators valorize the sixties. People who wrote about these artists 30 years ago still write about them in the same ways, often for the same magazines.
I want to write poems that are natural, luminous, deep, spare. I dream of an art so transparent that you can look through and see the world.
An artist must possess Nature. He must identify himself with her rhythm, by efforts that will prepare the mastery which will later enable him to express himself in his own language.
The regular division of the plane into congruent figures evoking an association in the observer with a familiar natural object is one of these hobbies or problems...I have embarked on this geometric problem again and again over the years, trying to throw light on different aspects each time. I cannot imagine what my life would be like if this problem had never occurred to me; one might say that I am head over heels in love with it, and I still don't know why.
I want to do work that means something to me so that when I go to work at the theater eight times a week, I want to be there.
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