Short Fiction

In the words of Short Fiction writers:

Philip K. Dick

(Unpublished) Foreword to The Preserving Machine

"The difference between a short story and a novel comes to this: a short story may deal with a murder; a novel deals with the murderer, and his actions stem from a psyche which, if the writer knows his craft, he has previously presented. The difference, therefore, between a novel and a short story is not length; for example, William Styron's The Long March is now published as a "short novel" whereas originally in Discovery it was published as a "long story." This means that if you read it in Discovery you are reading a story, but if you pick up the paperback version you are reading a novel. So much for that.

"There is one restriction in a novel not found in short stories: the requirement that the protagonist be liked enough or familiar enough to the reader so that, whatever the protagonist does, the readers would also do, under the same circumstances...or, in the case of escapist fiction, would like to do. In a story it is not necessary to create such a reader identification character because (one) there is not enough room for such background material in a short story and (two) since the emphasis is on the deed, not the doer, it really does not matter—within reasonable limits, of course—who in a story commits the murder. In a story, you learn about the characters from what they do; in a novel it is the other way around: you have your characters and then they do something idiosyncratic, emanation from their unique natures. So it can be said that events in a novel are unique—not found in other writings; but the same events occur over and over again in stories, until, at last, a sort of code language is built up between the reader and the author. I am not sure that this is bad by any means.

"Further, a novel—in particular the SF novel—creates an entire world, with countless petty details—petty, perhaps, to the characters in the novel, but vital for the reader to know, since out of these manifold details his comprehension of the entire fictional world is obtained. In a story, on the other hand, you are in a future world when soap operas come at you from every wall in the room...as Ray Bradbury once described. That one fact alone catapulted the story out of mainstream fiction and into SF.

"What a SF story really requires is the initial premise which cuts it off entirely from our present world. This break must be made in the reading of, and the writing of, all good fiction...a made-up world must be presented. But there is much more pressure on an SF writer, for the break is far greater than in, say, "Paul's Case" or "Big Blonde"—two varieties of mainstream fiction which will always be with us.

"It is in SF stories that SF action occurs; it is in SF novels that worlds occur. The stories in this collection are a series of events. Crisis is the key to story-writing, a sort of brinkmanship in which the author mires his characters in happenings so sticky as to seem impossible of solution. And then he gets them out...usually. He can get them out; that's what matters. But in a novel the actions are so deeply rooted in the personality of the main character that to extricate him the author would have to go back and rewrite his character. This need not happen in a story, especially a short one (such long, long stories as Thomas Mann's Death in Venice are, like the Styron piece, really short novels). The implication of all this makes clear why some SF writers can write stories but not novels, or novels but not stories. It is because anything can happen in a story; the author merely tailors his character to the event. So, in terms of actions and events, the story is far less restrictive to the author than is a novel. As a writer builds up a novel-length piece it slowly begins to imprison him, to take away his freedom; his own characters are taking over and doing what they want to do—not what he would like them to do. This is on one hand the strength of the novel and on the other, its weakness."