If you’re having trouble coming up with ideas, you may well be better off with a novel than with short stories. Because each short story absolutely demands either a new idea or a new slant on an old one. Often the short story amounts to very little more than an idea fleshed out and polished into a piece of fiction. This is particularly likely to be the case with the short-short, which is typically not much more than a fifteen-hundred-word preamble leading up to a surprise ending, an idea thinly cloaked in the fabric of fiction.
Novels, on the other hand, are time and again written with no original central idea to be found. Every month sees the publication of new gothic novels, for example, and the overwhelming majority of them hew quite closely to a single plotline — a young woman is in peril in a forbidding house, probably on the moors; she is drawn to two men, one of whom turns out to be a hero, the other a villain. Another category, the historical romance of the Love’s Tender Fury variety, has an initially innocent heroine getting ravished in various historical periods and with varying degrees of enjoyment.
Westerns typically adhere to one of five or six standard plotlines. Similarly, there are a handful of basic book types in the mystery and science-fiction fields. And, in the world of mainstream fiction, consider how many novels each year deal with nothing more original than the loss of innocence.
This is not to say that the novel does not demand ingenuity. It is this quality which enables the novelist to take a standard theme and hang upon it a book which will seem quite fresh and new to everyone who reads it. As he writes, characters come to life, scenes acquire dimension upon the page, and a wealth of original incident serves to make this particular book significantly different from all those other novels to which it is thematically identical.
Sometimes these elements of characterization and incident which make a novel unique exist in the forefront of the author’s mind when he sits down to the typewriter. Sometimes they emerge from his creative unconscious as he goes along.
I enjoy writing short stories myself. They offer me considerable satisfaction, for all that their production is economically unsound. I very much enjoy being able to sit down at the typewriter with an idea fully formed in my head and devote myself to a day’s work of transforming that idea into a finished piece of fiction.
The enjoyment’s so keen that I’d do this sort of thing more often — except that each story requires a reasonably strong central idea, and the idea itself gets used up in the space of a couple of thousand words. I simply don’t get that many ideas that I find all that appealing.
Ed Hoch makes a living writing nothing but short stories, and he manages this superhuman feat because he seems to be a never-ending fount of ideas. The development of short story ideas and their speedy metamorphosis into fiction is what gives him personal satisfaction as a writer. I sometimes find myself envying him, but I know I couldn’t possibly come up with half a dozen viable short story ideas every month the way he does. So I take the easy way out and write novels.
You can learn more. Writing has this in common with most other skills: we develop it best by practicing it. Whatever writing we do helps us to become better writers.
It has been my observation, however, that there is no better way to learn how to write than by writing a novel. I learned quite a bit by writing short stories. I learned much much more when I wrote my first novel, and I have continued to learn something or other with virtually every novel I have written since.
Short story writing taught me quite a bit about effective use of the language. I learned, too, how to construct a scene and how to handle dialogue. Everything I learned in this fashion was valuable.
When I wrote a novel, it was as if I were working out now with heavy weights; I felt growth in muscles I had not previously been called upon to use at all.
Characterization was at once a very different matter. Before my characters had existed to perform specific functions and speak specific lines. Some were well drawn, some were not, but none had the sort of fictive life that transcended their role on the page. When I wrote a novel, the characters came to life for me. They had backgrounds, they had families, they had quirks and attitudes that added up to more than the broad lines of caricature. I had to know more about them in order to make them maintain vitality over a couple of hundred pages, and thus there was more substance to them. This not to say that my characterization in my earliest novels was particularly good. It was not. But I learned immeasurably from it.
I learned, too, how to deal with time in fiction. My short stories had often consisted of a single scene, and rarely of more than three or four scenes. The novels I wrote seemed to cover a matter of days or weeks, and of course consisted of a great many scenes. I learned to deal with any number of technical matters — viewpoint shifts, flashbacks, internal monologues, etc.
You can earn while you learn. It’s curious how many writers tend to expect instant gratification. We’ve barely rolled a sheet of paper into the typewriter than we expect to see our efforts on the best seller list.
It seems to me that other artists are rather less impatient of tangible success. What painter expects to sell the first canvas he covers? More often than not he plans to paint over it once it’s dried. What singer counts on being booked into Carnegie Hall the first day he hits a high note? Every other artistic career is assumed to have an extended and arduous period of study and apprenticeship, yet all too many writers think they ought to be able to write professionally on their first attempt, and mail off their first stories before the ink is dry.
There must be reasons for this. I suppose the whole idea of communication is so intrinsic a part of what we do that a piece of writing which goes unread by others is like Bishop Berkeley’s tree falling where no human ear can hear it. If nobody reads it, it’s as if we hadn’t even written it.
Then too, unpublished writing strikes us as unfinished writing. An artist can hang a canvas on his own wall. A singer can croon in the shower. A manuscript, though, is not complete until it is in print.
At first glance this desire to receive money and recognition for early work would look like the height of egotistic arrogance. It seems to me, however, that what it best illustrates is the profound insecurity of the new writer. We yearn to be in print because without this recognition we have no way of establishing to our own satisfaction that our work is of any value.
I would not for a moment advise a new writer to expect to get any recognition or financial gain out of a first novel. Unless you are fully prepared to spend months writing a book with no greater reward than the doing of it, you would very likely be better off getting rid of your typewriter and taking up some leisure pastime which places less of a premium on achievement.
This notwithstanding, there is no gainsaying the fact that any number of first novels are published every year. Publishers typically bitch about the difficulty of breaking even on a first novel, conveniently ignoring the several first novels per season to achieve best seller status. True, most first novels are not published. True too, most that are sell very poorly. The wonder is that any are published at all.
Thus it is possible to make certain gains, in money and in recognition, while acquiring those skills which can only be acquired through experience. And this sort of paid apprenticeship is far more readily accessible to the novelist than the short story writer.
It wasn’t always this way. When the newsstands teemed with pulp magazines, the pulps were precisely where the new writer earned a living — albeit a precarious one — while developing his skills and refining his technique. A similar kind of magazine apprenticeship is standard procedure to this day in the field of nonfiction; article writers earn while they learn by writing for house organs and trade journals before they are ready to write either nonfiction books or articles for more prestigious magazines.