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In this episode, we discuss “Why Don’t We Just Kill the Kid in the Omelas Hole” by Isabel J. Kim. What can we learn from this story that plays off another classic story? How can a clear voice set the tone for a story? What distinguishes fantasy from realist storytelling that wants to comment on real-world issues? How can we shape our own voices for different stories?

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In this episode, we discuss “The Nine Billion Names of God” by Arthur C. Clarke. What can we learn from this classic story? What guides the length and development of a short story? What could turn a premise-driven story into a character-driven story? How does understanding the needs of a story determine where it should focus?

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In this episode, we discuss “Hollow” by Breece D’J Pancake. What can we learn from this early success from a young writer? What does it mean for a writer to find their voice? What does it mean to write what you know? Is it actually bad to head-hop point of view? How do you circumscribe the events of a story to create a compelling portrait of a character?

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In this episode, we discuss “The Enormous Radio” by John Cheever (alternate version). What can we learn from this 1947 New Yorker story? How does the distinction between public and private life drive a story? How do stories rely on insights about human psychology? How does a story that predicts the future show us what it means to be human? How can we use fantastical elements to explore the psychology of characters?

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In this episode, we discuss “A Conversation with My Father” by Grace Paley. What can we learn from this semi-autobiographical story? How can we develop stories from our own experiences? How can an extended conversation drive a story? How does the tragedy of human mortality color the mood of a conversation? How can we capture a real-life feeling in our stories?

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In this episode, we discuss “A Manual for Cleaning Women” by Lucia Berlin. What can we learn from this story? How can we use a repeating structure in a story? How can the emotional shape of a story influence its structure? How does a story’s themes suggest structural features?

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In this episode, we discuss “Everything That Rises Must Converge” by Flannery O’Connor. What can we learn from one of O’Connor’s best parables? How do details make a story richer? What does it mean for a story to have a meaning? How can detailed, concrete characters help a story find insights through drama?

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In this episode, we discuss “Wood Sorrel House” by Zach Williams. What can we learn from this story? Do we need to interpret what the story means? Is there a metaphor? How can interior psychology be presented by external conflicts? How can we make sure our stories are understood as we intend? How can concrete details ground a story’s concerns? What makes a perfect detail?

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In this episode, we discuss “The Garden of Forking Paths” by Jorge Luis Borges. What can we learn from this seminal work? How does the Garden of Forking Paths function in the story? How can a story maintain momentum while shifting the reader’s expectations? How can a story explain something novel?

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In this episode, we discuss “Found Objects” by Jennifer Egan (second story in this PDF). What can we learn from this story? How can plot serve character and character serve plot? How can a character be both a device and a character? Can a scene be developed as both a present scene and a memory at the same time? How does the character’s experience drive the reader’s understanding of a story?

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