“You can kill the spell of identification just as easily as youcan create it—if you lose the readers' sympathy for the character.You can lose reader sympathy by having your character commitacts of cruelty to another character with whom the readers identifymore strongly or for whom they have strong sympathy. Youcan lose reader sympathy by having the character make dumbchoices—acting at less than maximum capacity. The idiot inthe horror story who responds to creepy noises by going intothe attic armed only with a candle is an example. You can losereader sympathy when a character seems too ordinary, is stereotyped,or doesn't struggle hard enough. The reader wants tocheer a fighter, not witness a milquetoast wallowing in, say, selfpity.”

“Before you go ahead with a flashback, ask yourself if you canmake the same impact on your reader through conflict in thenow of the novel. If the answer is no, then the flashback isnecessary, but remember that within the flashback all the sameprinciples of good dramatic storytelling which apply in the nowof your story—fully rounded characters, a rising conflict, innerconflicts, and so on—continue to apply.”

“Fiction can be more real to the reader than reality itself because fiction is the essence of life”

“The purpose of a short story is ... that the reader shall come away with the satisfactory feeling that a particular insight into human character has been gained, or that his (or her) knowledge of life has been deepened, or that pity, love or sympathy for a human being is awakened. ”

“My readers have to work with me to create the experience. They have to bring their imaginations to the story. No one sees a book in the same way, no one sees the characters the same way. As a reader you imagine them in your own mind. So, together, as author and reader, we have both created the story.”

“Readers find most flashbacksintolerable. Yet a lot of neophyte writers flash back like mad.Why? No one but the Creator of the Universe knows for sure,but there is a likely answer: they find the conflicts in the "now"of the story produce anxiety in themselves.”

“To set a forest on fire, you light a match. To set a character on fire, you put him in conflict.”