The Ditchwalk Book Club is reading and discussing Rust Hills’ seminal work, Writing in General and the Short Story in Particular. Announcement here. Overview here. Tag here.

If, as Hills stated in the previous section, the middle of a story ends with movement of the main character, then what defines the ending? And how does a writer know when to bring the ending to a close?

The first question is one of scale, and the answer for any narrative form can be found by focusing on the relationship between preparation and effect. The second question concerns sensibility, because ending a story is as much about being a good host as it is about tying up loose ends.

As should be clear by now, Rust Hills believes the short story is the shortest literary form that supports convincing movement of character. Compared with the epic scope of a novel, a short story is a literary close-up focused tightly on a moment of change. It is this close focus that allows the short story to illuminate subtle or delicate moments of transition that might be overwhelmed by a more complicated tableau.

Here’s Hills on the ending of a novel:

After having spent so long with the characters, the reader of a novel has become so interested in them, almost fond of them as acquaintance, that he is not adverse to a long “afterward” or “conclusion” that tells how they married, settled down at Milltown Manor and raised children and grew old together.

And here’s Hills on the ending of a short story:

The short story need only tell us what happened in the story itself, need only make clear the slight movement that has taken place. A lot of modern short stories don’t seem to have much of an end at all, really, not in terms of old-fashioned plotting….

In order to fully realize subtleties in such a limited form, the short story truncates both the beginning and end, concentrating on those elements that are critical to providing convincing movement of character. By doing so the short story not only limits possibilities, it also omits considerable authorial obligation. If you establish almost nothing at the beginning of your story, how much can there be to resolve at the end?   Read more

One of the first comments posted on this site when it launched a month ago mentioned a book called The Black Swan. So I went to the library and checked out a copy, and I have to say that it’s an interesting read written by an interesting person who’s not shy about letting you know how interesting he is.

I agree with the basic premise: that there’s too much attention paid to meaningless detail, when the really important stuff is usually not indicated by measurable shifts in meaningless detail. Rather, it’s indicated by a one-off event that pretty much everyone seems not to have anticipated at all. (My own take on the heavy use of the bell curve — which the author rightly despises in so many instances — is that the bell curve is a useful indicator of markets and demographics. Since most of our lives and the meaning in and of our lives revolves around money, the bell curve is a useful device for both measuring how much we have and whose reserves we can most easily target.)   Read more

Next time you’re about to school someone on how the music industry is or is not like the book business, stop what you’re doing and locate a copy of Appetite for Self-Destruction: The Spectacular Crash of the Record Industry in the Digital Age, by Steven Knopper.

While you should ideally read the whole thing, at the very least you should flip to Chapter 7 and read it in full before you wax intellectual about all things digitally downloaded. Here’s a key graph:

“These days, [Aimee] Mann uses recording technology that is cheaper than ever and makes licensing deals with major distribution companies simply to put her records in stores and post them on iTunes. She gets to keep control of her master recordings and makes every creative decision about what does and doesn’t go on the record. ‘A lot of artists don’t realize how much money they could make by retaining ownership and licensing directly,’ her manager, Michael Hausman, told ex-Talking Head David Byrne in Wired.”

Why is that a big deal? Because it makes clear that recording artists no longer need partners in order to produce music or deliver it to an audience. Between advances on the recording side, which have made CD-quality audio cheap to produce, and developments on the digital/internet side, which have made CD-quality audio cheap to distribute, there is no longer any obstacle between Aimee Mann and her audience.   Read more