I blogged about Mark Paxson’s story The Marfa Lights a while back. This week I finally got around to reading the rest of the stories in the collection, and I enjoyed them tremendously. I think my favorites were the post-apocalyptic poem (bonus points to Mark for his use of the excellent word “gloaming”) and the sci-fi tale laced with David Bowie references. All the stories are quite good.
Some of the stories have a bit of a Twilight Zone-like feel to them, which I liked quite a lot. Like Phillip McCollum, Mark has a knack for setting the reader up for a surprising ending in a subtle and economical way.
Speaking of Phillip, I blogged about him recently as well, and since then he’s just kept on putting out more terrific stories. Branded and Halfway are two of his most recent works that I’ve enjoyed lately.
Both Phillip and Mark are very adventurous in their writing. While there are certain themes that recur, they are always experimenting–trying on different voices, styles and genres, and it never fails to make for an engaging read.
Ever since I first started dabbling in the writing business, I’ve read numerous people claiming that short stories aren’t read much outside of schools and small literary circles. If you want wide acclaim as an author, goes the conventional wisdom, you’ve got to write novels.
This has always baffled me. Modern audiences are famous for their short attention spans. If anything, you’d think they would be more interested in a short tale that can be finished in a few minutes or an hour than a long, drawn-out novel. (Or, as is even more popular, series of novels.)
Think about it: when it comes to other entertainment, most people watch sit-coms or hour-long episodic dramas. A sizable but somewhat smaller audience goes to two-hour movies. And only hardcore artsy types go to sit through really long movies or, for the truly committed, operas. Why is this situation reversed when it comes to literature?
Maybe in the past you could have said it was because novels were all that was widely available, but the internet changed that dynamic in two ways. The first is simple economics–you can get a good short story collection like The Marfa Lights for ninety-nine cents on Kindle. Phillip publishes his work on his blog. You can get good writing while spending less of your time and money than a novel requires.
The second thing is that the internet makes it easy to discover authors that big publishing outfits haven’t taken yet because they are too risk-averse. I would never have read the work of Mark, Phillip, and other terrific indie authors if not for the internet.
So why aren’t the short, independently-published stories flourishing? Talented writers are all around us and easier to find than ever. The big publishers’ stranglehold has been broken, just as the major traditional news outlets have lost out to bloggers and independent, specialized news services. What is holding so many readers back?
In a way, novels from big-name authors and publishers are like major Hollywood movie franchises, in that they are a relatively safe investment. Audiences go to them because they know pretty much what to expect. Similarly, when it comes to novels, people feel like they can be confident about what they’re getting–especially once they know a certain genre or author. And moreover, once you get into a novel, you (usually) don’t have to worry about changing gears and getting reintroduced to a new situation and set of characters with every new chapter.¹
Short story collections, by definition, can’t be like this. There has to be variation in them, or reading the collection will be a slog. For that matter, writing such a collection would be a slog. Almost every writer likes to try out different things now and then.²
So consumers are still playing it close to the vest with their entertainment choices. Most of them would rather invest in novels from major authors and publishers, from which they think they know what to expect. (Ironically, consumers of news couldn’t wait to jump at any excuse to ignore the traditional news outlets. They’re more careful with how they invest their entertainment budgets than who they trust to tell them the news.)
Don’t be like typical consumers. Give independent authors and short stories a shot. Reading is like anything else in life–if you want better than average return, you can’t just do what everyone else is doing and hope someone will give you exactly what you want. You have to be willing to be different if you want the best.
1. Lest anybody misinterpret what I’m saying here, I’m not claiming that novels are somehow intrinsically inferior to short stories. Some stories really do need to be 40,000 words or more in order to be told well. My point is just that I can’t see why novels should attract more readers than short stories. A satisfying story is a satisfying story, regardless of its length.
2. The King in Yellow, by Robert W. Chambers, which contains one of my all-time favorite short stories, “The Repairer of Reputations”, is a good example. Chambers loosely tied the first four stories together using the sinister title character and some other elements, but the later stories gradually turn away from the weird and more to the romantic. But all the stories contain elements of weird horror and fin de siecle romance, so the reader is always a little uncertain of what’s going to happen next. That’s what makes it good.