"When I was starting out, I did not do short fiction well, because I kept wanting to write books"
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Ambition is the polite word; impatience is the sharper one. Elizabeth Moon’s line has the dry clarity of a working novelist diagnosing her own early wiring: she wasn’t failing at short fiction because she lacked talent, but because her narrative metabolism ran long. The admission lands because it flips the usual apprenticeship story. Instead of “I learned craft through short stories,” she’s saying the form itself resisted her, not out of snobbery, but out of mismatched instinct.
The subtext is about scale and attachment. Short fiction demands ruthless selection: you imply a world rather than build one, you end before the urge to explain, you let a character’s arc click into place in a handful of moves. Moon confesses she kept trying to smuggle the satisfactions of a novel into a space that punishes sprawl. “Kept wanting” matters: it’s compulsion, not strategy, a gravitational pull toward systems, histories, and consequences - the very things her science fiction and fantasy are known for.
Contextually, it’s also a quiet rebuttal to the romantic myth of the “natural” writer. She frames craft as logistics: different forms require different muscles, and early-career frustration can be less about inadequacy than about miscasting. There’s humility here, but also permission. If you keep writing past the ending, it may not be a discipline problem; it may be a signal about where your storytelling actually wants to live.
The subtext is about scale and attachment. Short fiction demands ruthless selection: you imply a world rather than build one, you end before the urge to explain, you let a character’s arc click into place in a handful of moves. Moon confesses she kept trying to smuggle the satisfactions of a novel into a space that punishes sprawl. “Kept wanting” matters: it’s compulsion, not strategy, a gravitational pull toward systems, histories, and consequences - the very things her science fiction and fantasy are known for.
Contextually, it’s also a quiet rebuttal to the romantic myth of the “natural” writer. She frames craft as logistics: different forms require different muscles, and early-career frustration can be less about inadequacy than about miscasting. There’s humility here, but also permission. If you keep writing past the ending, it may not be a discipline problem; it may be a signal about where your storytelling actually wants to live.
Quote Details
| Topic | Writing |
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