  Short Stories
This week: Does Genre Matter? Edited by: Jay's debut novel is out now!  
More Newsletters By This Editor 
1. About this Newsletter
2. A Word from our Sponsor
3. Letter from the Editor
4. Editor's Picks
5. A Word from Writing.Com
6. Ask & Answer
7. Removal instructions
| This Short Stories Newsletter is dedicated to readers and writers of short fiction and to those who want to know more about the art of telling big stories in small spaces. |
| ASIN: 0910355479 |
|
Amazon's Price: $ 13.99
|
|
I recently read an editorial which was, ostensibly, a review on an annual collection of genre fiction. The editorial itself was interesting, with a focus on how the author felt genre could and should be used. The impression I took away from the article was that the author felt disappointed that the stories in the collection-- a genre collection-- did not do more to subvert genre expectations and limitations. The author had other comments on the stories in question, but the part that really stuck with me was the apparent disappointment at the stagnation, the lack of perceived advancement.
I chafed a little at the assessment, though it wasn't anything I contributed to, primarily because I don't feel the constant pull to turn genre into a subversion or a statement. Sometimes a cigar is just a cigar; sometimes a supernatural romance is just a supernatural romance. (Or a space opera. Or whatever.)
Now, that being said, I understand the craving to read something new, different, exhilarating. Yes, we should not strive to merely retread; there's no point to only do what has already been done. There are countless other trite writerly observations on individuality and differentiation. The point is to be unique... but not so unique as to be unidentifiable to your audience. It's a tight balance and I'm not quite sure how to walk that tightrope, but it got me thinking.
The sticky spot we run into is that one would think that, in a world with a nearly limitless supply of information, how do we innovate? Is innovation merely a result of subverting expectations? I don't know that inversion is enough-- turning the genre's implied rules and limitations over, spilling the tea leaves as one is trying to read them.
It becomes a meta question I'm not sure is totally productive, but is engaging all the same. At what point does the endeavor to be original and break convention become conventional in its own right? Is it better to write well in a conventional way, or to experiment to find where the boundaries are-- and to where they can be pushed?
I'm not totally sure. And I think I'm okay with that.
I'm okay with both aspects; on one end, I enjoy well written conventional fiction and on the other, I love fiction that challenges my perceptions.
(And I'm curious to know what you think.  )
Until next month,
Take care and Write on!
|
This month's picks from my wanderings around the site. Some of these are items which need some TLC!
a topical editorial I enjoyed:
taylor.smith submits the following story:
And we've got a wide-open prompt this month through the 31st of October for the Dialogue 500--
|
Have an opinion on what you've read here today? Then send the Editor feedback! Find an item that you think would be perfect for showcasing here? Submit it for consideration in the newsletter!
https://www.Writing.Com/go/nl_form
Don't forget to support our sponsor!
| ASIN: 1945043032 |
|
Amazon's Price: Price N/A
|
|
Feedback from last month's newsletter: "Tying It All Together"
blunderbuss writes:
I found this newsletter very stimulating and I love the idea of countering initial impressions in particular. Thank you.
Thanks much, Diane! I agree, it's fun to play with perception, because that's when the reader's engagement in a character really ramps up.
platinumbwords writes:
Good point regarding background information and setting detail within a work. I find that most of the time, this info comes across as boring if just listed when I read on my own. I have to admit that Chuck Palahniuk's description of the island in "Diary" was well done: it read more as poetic prose than prose, per se. However, in general, what is an ideal way for letting the reader in on detail that doesn't have to do with the plot is having it introduced in a conversation between characters or otherwise dotted within description of the action taking place, rather than preceding description of this action. This way, the writer kind of sneaks it in without having it overwhelm the page. Just a bit to add to your thoughtful comments :)
I agree completely. I am one of those dialogue fiends (to put it mildly) and I think there's a lot that can be conveyed in -- what is said, how it is said, and what is *not* said. Setting is more challenging but can similarly be imparted with selected details to pinpoint the time and place.
Lesley Scott  writes:
I felt like your newsletter about short story details and characters. Being an ex-newspaper reporter and writing newsletters, I have trouble with details.
Thanks for sharing.
yours,
Lesley
Thanks, Lesley!
|
| ASIN: B01CJ2TNQI |
Product Type: Kindle Store
|
Amazon's Price: $ 5.99
|
|
To stop receiving this newsletter, click here for your newsletter subscription list. Simply uncheck the box next to any newsletter(s) you wish to cancel and then click to "Submit Changes". You can edit your subscriptions at any time.
|
Short Stories: September 19, 2012 Issue [#5265]
View Portfolio
Visit Notebook
Send Gift Points
Awards
Badges
Send Email
Community Newsfeed
General Discussion
Sponsored Items
Book of Trinkets
Static Items
Books
Groups
Interactive Stories
Audio
Campfire Creatives
Community Notes
Crossword Puzzles
Documents
Folders
Images
In & Outs
Madlibs
Photo Albums
Polls
Product Reviews
Quizzes
Survey Forms
Web Pages
Word Searches
