he short story has generally one commanding idea whereas the novel should have several interacting ideas – in my view as many as there are chapters.
It is not a bad system to write each chapter as if it were a short story.
I did this once, in my novel The Mandelbaum Gate. It also allowed me to speak from the point of view of a different character in each chapter. This is also good from the commercial point of view. One can serialise or sell extracts more easily.
(Incidentally the commercial point of view is not necessarily the adversary of art. The commercial discipline is no different from any other discipline, it should not have undue influence on the artistic process. The only adversary of art is bad art.)
The short story does not bring the life-force of the characters to an end. If it is true as Aristotle said of tragedy that the story should have a beginning, a middle and an end, I would say that the short story deals mainly with the middle. The novel deals with all three, although there the middle is often the beginning, and it is possible to start with the end.
Weeds upon weeds, sticky with cables and jags, made the path I was on hardly a path at all, more a net of stalks and shoots, zig-zags slowing my pace right down to a crawl as I picked my way, if way you could call it, half that morning in a drenched glare after the hound, and its nose-down, long-haul trek on some urgent but obscure affair still far from over, and in which I had some share.
Blue dragonflies were switched on by the sun and clattered into action; warily
I cleared the obstacles one by one, but knew I was lost; all eyes were on me
(I didn’t doubt for a moment they would see), and what had felt like silence an hour ago had turned now to a full cacophony of things conferring, scuttling, in the know: an audience perhaps, intent on this one show.
I came to a cleared hollow, where two trees stood off from one another, bright with moss that covered them like fur or a disease; some rain was falling now, while just across from where the trees put on a greenish gloss as water caught in drops on their long hair,
THIS CHAPTER IS RELEASED UNDER A CREATIVE
COMMONS ATTRIBUTION 3.0 LICENSE (http://creativecommons.org/licenses/by/3.0/).
This chapter is about the transformative effect that good tools
can have on a team's ability to collaborate.
Consider that for years the World Wide Web consisted mainly of
static pages that required technical expertise to write, and that
readers could not influence except by sending email to the appropriate
webmaster@ address. Then, a few visionary souls
started making software that would allow anyone with basic computer
skills to cause text to appear on the Web, and other software to allow
readers to comment on or even edit those pages themselves. Nothing about
blogs or wikis was technically revolutionary;
like the fax machine, they could have been invented years earlier, if
only someone had thought of them. Yet once they appeared, they greatly
increased people's ability to organize themselves into productive
The definitions in this glossary were developed by the Disaster
Recovery Journal, (www.drj.com), in conjunction with Disaster
International, DRI, 2003. Used with the permission of DRJ.
ACTIVATION: The implementation of business continuity capabilities, procedures, activities and plans in response to an emergency or disaster declaration; the execution of the recovery plan.
ALERT: Notification that a potential disaster situation exists or has occurred; direction for recipient to stand by for possible activation of disaster recovery plan.
ALTERNATE SITE: An alternate operating location to be used by business functions when the primary facilities are inaccessible. (1) Another location, computer center or work area designated for recovery. (2) Location, other than the main facility, that can be used to conduct business functions.
(3) A location, other than the normal facility, used to process data and/or conduct critical business functions in the event of a disaster. SIMILAR TERMS: Alternate Processing Facility, Alternate Office