To be a NovelistBeing a novelist
Would it be better to be a novelist or a novelist?
Is it unfair to authors of shorts? What is the difference between creating a comic? Many authors believe that it is more difficult to create shorts as novels. You can trace this back to any words that must be used in a brief novel, while the narration may wind its way through a novel.
A 3,000-word narrative is not the same as a 90,000 to 120,000-word novel. Shorts, novels and novels are all different shapes, so the length is just one of the themes - the shorts are not a very brief novel, nor is a novel a very long one.
Every submission has its own set of characteristics and the best way to see how a story works is to see as many as possible. It can also be very useful to be able to talk about the topic by interviewing great authors. Both The Paris Review and The New Yorker have beautiful archive of the best authors of the series.
Perhaps one could make the following analogies to make a comparison between the two: a brief history would be like a photo, while a novel would be more like a movie. For me, it' s different from when I write a novel and a brief history. I' m not going to have a seat and make a plot for a little storyline.
When I was a college kid about 20 years ago, for example, I had a picture of a boy tickle his mother's feet after she had come back from a long working year. However, a picture is not a history. As the years went by, I added to this picture - moments of dialog, thoughts and emotions, an experience I had, and eventually a picture from a tale that someone else was telling me and that provided the keys to my own history.
It took an afternoons when I was sitting down to put it down. According to the point of views, the brief history thus lasted an afternoons or 20 years. In my novel, I've divided the narrative into sections. So I found a useful means to divide the storyline into the nine week period that the main character had during his summers between elementary and grammar schools.
When I added something while I wrote, I had to understand the cause and effect throughout the novel, and I needed a scheme to record the wave effect of each one. Beginning too early in history is a frequent error we make when we start composing shorts for the first time.
One of the best advices from many authors is to begin as early as possible in the time line of your history and get out as soon as possible when it is finished. When I was asked by an editorial journalist who had seen my work in a theater, to make a play and comedies, I was asked to make a film.
After I had only done dialogues for the last ten years, I was really frightened by the idea of even doing so. Yet I could see a brief history in my head. This is why a brief history can be a good beginning when you set out to make your own music.
When it doesn't work, you can give it up and move on to another notion. Beginning to write shorts doesn't mean that a shortstay is just a springboard for novelists. It is a dazzling narrative that can take many years to complete.
The majority of authors will tell you that to learn to type requires a great deal of literacy. What's great about a story is that you can get one every single working days and collect suggestions for shape, styles and plot. You' ll most likely juggle your typing with many other things, such as your profession and your background, but you can always go into a 30-minute lesson.
Encourage British readership to give you some of them and I suspect that few would be able to do so. Shorts aren't very big in Britain. As one of the Mexico writer I was reading with, Monica Lavin, said to me, this kind of attentiveness is not uncommon, but it has no influence on the still very bad sell-off.
It' s hard to publish a compilation of shorts in the UK unless you are a well-known writer. Novel writers can still get six-figure advance payments. There are fewer and fewer people making their debuts on this subject. Concerning modern typing, I commend works by writers such as Kevin Barry, Colin Barrett and Claire Keegan, George Saunders, Karen Russell and Laura van den Berg, the Canadians Alice Munro and Margaret Atwood, Australia's Cate Kennedy and in the UK Helen Simpson, David Constantine, Jackie Kay and Jon McGregor.
We' ll be bringing 30 of Britain's best authors to this show.