This post is a roughly tidied version of my June 2022 tweets about short stories. It’s quite long, so I’m putting the rest of it below the cut. There’s a list of all stories at the very end of the post.Continue reading
I was recently asked how I choose the short stories I’ve been reading for the short story reading posts. It’s not particularly scientific. But I’m trying very hard not to primarily review each story or reduce comments to whether or not I personally like it. Rather, I’m interested in what a story does, and how.
I tell myself the stories have been
- (a) published by a venue, and
- (b) additionally selected by someone else,
so there’s no need to add my additional valuation to that. (Counterintuitively, this has also made it a lot easier to just enjoy the stories.)
- I’ve chosen to read through some anthologies and collections because I’m interested in the author or editor or theme;
- sometimes a story just catches my eye, or a recommendation floats past;
- I’ve been reading Fireside Fiction and The Sunday Morning Transport stories as they arrive in my inbox; and
- when awards shortlists are announced, I’ve been adding any stories I haven’t read yet to the list.
So far, this reading project tends to be most revealing about:
- an author’s techniques and boundaries and the size of the blocks they build with
- a magazine’s vibes (these can be extremely distinct — often far more than editorial or authorial flavours)
- the consensus definition of a theme (in a given group — see e.g. the comments on the Supernatural Noir stories in the February post)
- the particular interests and tastes of people who collate lists of recommended stories
I need to read more anthologies, as the patterns of editors’ motivations are still a little obscure. There are lots of overlays there — the market or venue’s style, what is submitted, the collective motivation or interpretation or concerns of a particular group of authors in a particular era. I suspect analysing what’s happening at the anthology-construction level, across a number of books by the same editor, would give more of a sense of this.
Notes about individual stories
So far the short story notes are in these posts, but there will be more (tagged short story reading posts):
This post is a roughly tidied version of my March 2022 tweets about short stories. It’s extremely long, so I’m putting the rest of it below the cut. There’s a list of all stories at the very end of the post.
Parts will very likely end up in other posts in the future. There are ideas coalescing, including thoughts on e.g. stories of revolution, loss, communication, witness, and the metaphorical weight of birds — and thoughts on the emphases and accents of speculative fiction, and the evolution of stories on given themes.Continue reading
This post is a roughly tidied/slightly edited version of a Twitter thread I’ve been keeping, tracking my February 2022 short story reading. It is extremely long, so I’m putting the rest of it below the cut. Parts will very likely end up in other posts in the future. And at the very end of this post is a list of all the stories read.
Read on…Continue reading
This post is a roughly tidied/slightly edited version of a Twitter thread I kept, tracking my January 2022 (and late December 2021) short story reading. It is extremely long, and I plan to extract sections of it into more concise posts in the future.
However, for posterity, here it is. Story notes are in regular text, my thoughts are in bold, in case that makes it easier to skip around. Feel free to ask for more detail/clarity. And I’ll edit this with links to related posts from time to time. [Note: I’ve started to drop in some very brief story descriptions to jog my own memory, but it might take a while to complete those, due to the aforementioned memory] [Further note: there is now a full list of stories read at the very end of this post]
It’s based on previous three-moods posts. See Story Shapes — Three-Mood Stories for background. The short version:
- I like breaking short stories into progressions of three moods (rather than beginning-middle-end, etc). I find it more revelatory, intuitive and useful, both for reading stories and for writing them.
- I use “mood” very broadly.
- Each dot point is one shape — one way of reading the shape of the story.
Also now up:
- February short story post
- March Short Story Reading Post
- April Short Story Reading Post
- May Short Story Reading Post
- June Short Story Reading Post
Read on if you dare.Continue reading