"It's possible to write about anything in the world, but the slightest story ought to contain the facts of money and blood in order to be interesting to adults. That is, everybody continues on this earth by courtesy of certain economic arrangements; people are rich or poor, make a living or don't have to, are useful to systems or superfluous. And blood – the way people live as families or outside families or in the creation of family, sisters, sons, fathers, the bloody ties. Trivial work ignores these two facts."
Full Article: How to write a great short story
I would laugh about statements like the crap above, if not for the fact that it has the potential to do aspiring writers an enormous amount of damage.
I have had it up to my nostrils with New Zealand publishers' rejection of genre fiction. I'm currently putting together an anthology of genre fiction that includes Joyce Carol Oates and Caitlin R. Kiernan, among others (as well as fiction by New Zealand writer Tamsyn Muir), a pitch I once again had to sell to an American publisher because of the lack of support for genre writing in NZ.
The worst of it? People like Paula Morris are teaching Creative Writing courses at university level (Auckland University, in this case). Can you imagine the limitations being imposed on writers in such an environment? "Write about family and money."
It's only 12pm and I already need a shot of tequila just to wash down the bad taste in my mouth.