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Short Circuit: A Guide to the Art of the Short Story. Edited by Vanessa Gebbie
'Short Circuit' is a unique and indispensable guide to writing the short story. A collection of 24 specially commissioned essays from experienced writers and successful teachers of the short form, this new edition has been updated and is an intensely practical, generous book. Each expert discusses their own writing processes, sharing tried and tested writing exercises and lists published work they find inspirational.
256 pages, Paperback
First published October 27, 2009
14 people are currently reading
276 people want to read
About the author
Vanessa Gebbie
25 books30 followersVanessa Gebbie is a novelist, short storyist, editor, writing tutor and occasional poet. Her novel The Coward’s Tale (Bloomsbury) was selected as a Financial Times Book of the Year and Guardian readers’ book of the year.
She is author of two collections: Words from a Glass Bubble - a collection of mainly prize-winning stories - and Storm Warning (Salt Modern Fiction). She is contributing editor of Short Circuit - Guide to the Art of the Short Story (Salt). Her fifth book in as many years is forthcoming later in 2012.
Vanessa's stories have been commissioned by literary journals, the British Council, for BBC Radio 3 and BBC Radio 4, and are widely anthologised. Married with two grown sons, she lives in Sussex. www.vanessagebbie.com
She is author of two collections: Words from a Glass Bubble - a collection of mainly prize-winning stories - and Storm Warning (Salt Modern Fiction). She is contributing editor of Short Circuit - Guide to the Art of the Short Story (Salt). Her fifth book in as many years is forthcoming later in 2012.
Vanessa's stories have been commissioned by literary journals, the British Council, for BBC Radio 3 and BBC Radio 4, and are widely anthologised. Married with two grown sons, she lives in Sussex. www.vanessagebbie.com
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Displaying 1 - 18 of 18 reviews
March 6, 2010
Stronger than most "How to Write 101" books. Each contributor is a prize-winning (of course) short story writer, commissioned to write an essay on them old perennials: character, theme, ending, originality, etc.
The essays are surprisingly alike in tone: each writer comes across as a hip school teacher trying not to offer generic advice or too much autobiographical detail, focusing instead on techniques, hints, basic truths, frank opinions.
Exercises and recommended reading lists are a good inclusion for the beginner, and seasoned short story writers might be able to work on their weaknesses, or breaking familiar patterns in their prose, through some of the ideas explored.
A strong emphasis is placed upon the contemporary obsession with concision, on turning prose into poetry -- i.e. not a word out of place. While I disagree with this practice -- I find the word-perfect obsession more an artistic pretension, bearing little significance to a story's effectiveness on its own terms -- it is a pertinent inclusion.
Raymond Carver is recommended too often -- it is worth noting that Raymond's work was savagely cut to pieces by his editor, Gordon Lish, whose input was so large he could practically claim co-authorship of the stories. It's important to mention as the Carver examples contradict some of the ideas being discussed.
Good to read if you're in a rut. For confident writers, these books are always infuriating reads, but absorbing some genius from others hardly hurts one's own creativity.
The essays are surprisingly alike in tone: each writer comes across as a hip school teacher trying not to offer generic advice or too much autobiographical detail, focusing instead on techniques, hints, basic truths, frank opinions.
Exercises and recommended reading lists are a good inclusion for the beginner, and seasoned short story writers might be able to work on their weaknesses, or breaking familiar patterns in their prose, through some of the ideas explored.
A strong emphasis is placed upon the contemporary obsession with concision, on turning prose into poetry -- i.e. not a word out of place. While I disagree with this practice -- I find the word-perfect obsession more an artistic pretension, bearing little significance to a story's effectiveness on its own terms -- it is a pertinent inclusion.
Raymond Carver is recommended too often -- it is worth noting that Raymond's work was savagely cut to pieces by his editor, Gordon Lish, whose input was so large he could practically claim co-authorship of the stories. It's important to mention as the Carver examples contradict some of the ideas being discussed.
Good to read if you're in a rut. For confident writers, these books are always infuriating reads, but absorbing some genius from others hardly hurts one's own creativity.
April 5, 2011
review later...
Adam Marek's contribution is good: 'I think people who enjoy short stories have a special gland, one that reponds to the unexpected with little bursts of pleasure chemicals.. I'm always suspicious of people who love to read, but who don't like short stories. These people, I think, if they have the gland, have a shrivelled thing. an atrophied little apple core. I pity these people. They are missing out on these inky little orgasms.'
I enjoyed Tania Hershman's piece on flash fiction, and how it demands work from the reader. David Gaffney's rules are fun: start in the middle.. make sure the end isn't the end.. make your last line ring like a bell..
similarly Paul Magrs' bullet points:
+ How come it's only paaragraph one and you're already up your own arse?
+ there'll be a fabulous detail or image or event most often, two thirds of the way down page 2.
So the book is fun, useful and good to dip into, and affirms you if you're a short story writer and especially a writer of flash. But it really is aimed at tutors of writing courses, or students of writing courses with its exercises and tips and as I am neither, it missed its mark with me. I'm going to keep it around though cuz you never know when you're going to turn into a 'tutor'..
As Vanessa Gebbie quotes from Faulkner in the intro:
'The good artist believes nobody is good enough to give him advice. He has supreme vanity.'
Adam Marek's contribution is good: 'I think people who enjoy short stories have a special gland, one that reponds to the unexpected with little bursts of pleasure chemicals.. I'm always suspicious of people who love to read, but who don't like short stories. These people, I think, if they have the gland, have a shrivelled thing. an atrophied little apple core. I pity these people. They are missing out on these inky little orgasms.'
I enjoyed Tania Hershman's piece on flash fiction, and how it demands work from the reader. David Gaffney's rules are fun: start in the middle.. make sure the end isn't the end.. make your last line ring like a bell..
similarly Paul Magrs' bullet points:
+ How come it's only paaragraph one and you're already up your own arse?
+ there'll be a fabulous detail or image or event most often, two thirds of the way down page 2.
So the book is fun, useful and good to dip into, and affirms you if you're a short story writer and especially a writer of flash. But it really is aimed at tutors of writing courses, or students of writing courses with its exercises and tips and as I am neither, it missed its mark with me. I'm going to keep it around though cuz you never know when you're going to turn into a 'tutor'..
As Vanessa Gebbie quotes from Faulkner in the intro:
'The good artist believes nobody is good enough to give him advice. He has supreme vanity.'
October 13, 2012
This book has been quite useful to me. I first read it while writing a short story, and I know it played a part in completing the story. Favorite essays include Catherine Smith's Myth and Magic: Beyond 'Realism' in the Short Story because a writer of what I call every-day fantasy needs to present that newly created universe as believable before the laws of that universe diverge from our own in a way the reader can accept.
I've gone back to Short Circuit specifically for Clare Wigfall's 'I Hear Voices'. She poses basic background questions for building characters, information that does not need to be in a story in any obvious way but will clearly influence the characters' actions.
Another useful point I found in Short Circuit (although I can't find which essay) was that unseasoned writers include too much information in the beginning before they start the action. The writer even gave it a number, maybe a third of the way in, we feel we've finally built up enough background information that we're ready to make something happen. So oftentimes, drop the first third, and there you have your real beginning.
I've made lots of notes throughout the pages of Short Circuit. I'm going to re-read it for my next project. It's the kind of book and good writing that will elicit more scribbles on the sidelines.
I've gone back to Short Circuit specifically for Clare Wigfall's 'I Hear Voices'. She poses basic background questions for building characters, information that does not need to be in a story in any obvious way but will clearly influence the characters' actions.
Another useful point I found in Short Circuit (although I can't find which essay) was that unseasoned writers include too much information in the beginning before they start the action. The writer even gave it a number, maybe a third of the way in, we feel we've finally built up enough background information that we're ready to make something happen. So oftentimes, drop the first third, and there you have your real beginning.
I've made lots of notes throughout the pages of Short Circuit. I'm going to re-read it for my next project. It's the kind of book and good writing that will elicit more scribbles on the sidelines.
June 9, 2021
The title of this book suggests it’s a guide to the art of the short story. Let me start by pointing out straight away that it’s not the kind of guide that will teach you how to write short stories, step-by-step. The book is actually a collection of essays by different contributors (edited by Vanessa Gebbie) that explores how other writers approach the various aspects of the form.
I made the mistake of starting to read it like a How To guide, working through every chapter in linear fashion, hoping everything would come together at the end in one spectacular conclusion that would enable me to write perfect, flawless short stories with ease, every time.
That didn’t happen, and no book can ever teach that, but what I did come away with was the deeper recognition of two things I already knew: that there is no correct way to write a short story, and that short stories are neither right nor wrong, but entirely subjective.
Reading this book revealed a few more interesting things for me. One is the fact that the process of writing stories isn’t necessarily fixed for a given writer. Everyone seems to change their approach and try different things. What works for one story might not work for the next. Many stories appear to write themselves, while others require hard graft.
I would recommend this book to writers who are curious to find out how other writers approach the craft, so they can compare it to their own methods, and explore new ways of working. The exercises at the end of each chapter are interesting and useful, and may help those suffering with writers’ block to begin generating stories of their own again.
I made the mistake of starting to read it like a How To guide, working through every chapter in linear fashion, hoping everything would come together at the end in one spectacular conclusion that would enable me to write perfect, flawless short stories with ease, every time.
That didn’t happen, and no book can ever teach that, but what I did come away with was the deeper recognition of two things I already knew: that there is no correct way to write a short story, and that short stories are neither right nor wrong, but entirely subjective.
Reading this book revealed a few more interesting things for me. One is the fact that the process of writing stories isn’t necessarily fixed for a given writer. Everyone seems to change their approach and try different things. What works for one story might not work for the next. Many stories appear to write themselves, while others require hard graft.
I would recommend this book to writers who are curious to find out how other writers approach the craft, so they can compare it to their own methods, and explore new ways of working. The exercises at the end of each chapter are interesting and useful, and may help those suffering with writers’ block to begin generating stories of their own again.
February 6, 2021
A very conversational how-to book on short story writing, with the chapters either being a writer advising the reader, or a writer being interviewed by the editor, this is compiled almost like a short story collection in itself with different writers in contributing to bite-sized chapters.
So it's easy to get into, although important info and tips are spread sporadically within its conversational style, although I noticed a continued insistence of in medias res and the recommendation of Raymond Carver's story 'A small good thing' (I have read it before, brilliant and heartbreaking)
Adam Marek's contribution is particularly good and engaging.
'Short circuit' won't make you blow a fuse, and it may even start a few sparks. Not an electric storm, but good for a boost.
So it's easy to get into, although important info and tips are spread sporadically within its conversational style, although I noticed a continued insistence of in medias res and the recommendation of Raymond Carver's story 'A small good thing' (I have read it before, brilliant and heartbreaking)
Adam Marek's contribution is particularly good and engaging.
'Short circuit' won't make you blow a fuse, and it may even start a few sparks. Not an electric storm, but good for a boost.
January 9, 2018
When it comes to the short story, there's always another angle... and what better way to mull over some new approaches than to read about the winning ways of prize-winning writers? This collection of personal insights into the creative process shared by a number of distinguished writers sets the old brain cells jingling and will have you reaching for your quill!
Over the years I've amassed around ninety short stories and I'm still busy writing more - even had some success, with one of 'em filmed and shown at the Cannes Festival; nonetheless, I came away from this read with a host of new insights and ideas... I was truly inspired.
Over the years I've amassed around ninety short stories and I'm still busy writing more - even had some success, with one of 'em filmed and shown at the Cannes Festival; nonetheless, I came away from this read with a host of new insights and ideas... I was truly inspired.
November 5, 2018
A selection of articles about how to write short stories from a wide variety of authors (many if them with Salt Publishing) with a wide range of views. I can't say that I agree with everything that was said - some if it does not accord with my own experience - but just about everything that was said was interesting and fresh. This isn't just you run-of-the-mill how-to, it's something more special.
I have the feeling that I'm going to need to find back into these articles so I'm very glad that I bought my own copy.
I have the feeling that I'm going to need to find back into these articles so I'm very glad that I bought my own copy.
October 11, 2021
Fantastic book. Entertaining and informative. A must have for anyone interested in writing short stories.
March 31, 2022
I cannot recommend this text book enough. If you are studying creative writing or just wanting to know more about the craft of writing short stories this book is a must.
June 27, 2021
Excellent craft resource.
June 19, 2016
2.5 stars
Hmmmmm...I was expecting pretty big things from this book.
Having recently read 'Writing Short Stories: A Writers' and Artists' Companion' which I thoroughly enjoyed and felt was incredibly helpful and insightful, this book fell short for me.
This time, there are less writerly tips and focus on authors discussing certain sections of writing, for example theme, voice, characterisation, etc. I found most of the sections rather long-winded, containing slim passages which I felt were useful.
To me, this book was less accessible, possibly because of the writers' style and how they came across in their sections. I wasn't particularly involved with or gripped by what these writers were saying, and most of their exercises were not very inspiring. I wanted exercises that forced me to push the boundaries of my imagination but the majority left me creatively cold.
There were a few sections I did enjoy (Hershman, Gebbie, Evers, Smith and Salway) which offered novel insights into the writing process but apart from these, I was left wanting more.
I was disappointed with this collection which is a shame because it could have been an eye-opening read; instead it left me skipping the odd page and wishing for something enchanting.
If you want writing advice read 'Writing Short Stories: A Writers' and Artists' Companion' - you'll be glad you did.
Hmmmmm...I was expecting pretty big things from this book.
Having recently read 'Writing Short Stories: A Writers' and Artists' Companion' which I thoroughly enjoyed and felt was incredibly helpful and insightful, this book fell short for me.
This time, there are less writerly tips and focus on authors discussing certain sections of writing, for example theme, voice, characterisation, etc. I found most of the sections rather long-winded, containing slim passages which I felt were useful.
To me, this book was less accessible, possibly because of the writers' style and how they came across in their sections. I wasn't particularly involved with or gripped by what these writers were saying, and most of their exercises were not very inspiring. I wanted exercises that forced me to push the boundaries of my imagination but the majority left me creatively cold.
There were a few sections I did enjoy (Hershman, Gebbie, Evers, Smith and Salway) which offered novel insights into the writing process but apart from these, I was left wanting more.
I was disappointed with this collection which is a shame because it could have been an eye-opening read; instead it left me skipping the odd page and wishing for something enchanting.
If you want writing advice read 'Writing Short Stories: A Writers' and Artists' Companion' - you'll be glad you did.
June 24, 2014
I don't usually read 'How to'books such as this, but in this instance I am glad I made an exception. This is an excellent guide for any writer interested in how to write and improve their short fiction, written by a range of successful authors on different topics. Most useful was a list from each author of their favourite short stories.
July 9, 2011
A practical guide to writing or appreciating short fiction. Unfortunately, the book contains a lot of typos. (Typos are distracting at the best of times, but they are particularly annoying in a book about writing.)
January 22, 2013
This is a collection of essays by published writers on how to write short stories. Some of them offer really useful hints (e.g. about show not tell, about characters, about first sentences) others were not as practical nor as interesting.
March 26, 2014
I have read the first chapter and couldn't see how I could apply it to my writing and so it has been squandering its time in the graveyard of the unread since 2012.
January 10, 2013
This is collection of articles written by different UK authors covering myriad of aspects related to the world of short stories. Filled with down to earth advice and extremely useful.
May 3, 2015
This is one of the books I see myself coming back to time and time again. Full of great advice and inspiration.
May 25, 2016
Essential reading for all short story writers, old and new. Wonderful nuggets of writerly wisdom.
Displaying 1 - 18 of 18 reviews