But in ordinary fiction, movies, etc, everything is smoothed out to seem plausible–villains made bad, heroes splendid, heroines glamorous, and so on, so that no one believes a word
I learned that you should feel when writing, not like Lord Byron on a mountain top, but like child stringing beads in kindergarten, – happy, absorbed and quietly putting one bead on after another.
If you would shut your door against the children for an hour a day and say: ‘Mother is working on her five-act tragedy in blank verse!’ you would be surprised how they would respect you. They would probably all become playwrights.
Everybody is original, if he tells the truth, if he speaks from himself. But it must be from his *true* self and not from the self he thinks he *should* be.
Advertising companies hire the very brightest, wittiest young people to write for them. Not one single sentence of it is worth repeating. Why? Because it wasn’t meant.
Of course, in fairness, I must remind you of this: that we writers are the most lily-livered of all craftsmen. We expect more, for the most peewee efforts, than any other people.
I want to understand more about everything you feel and know and all the changes inside and out of you. Let more come out.” And if you have no such friend,–and you want to write,–well, then you must imagine one.
Creative listeners are those who want you to be recklessly yourself, even at your very worst, even vituperative, bad-tempered. They are laughing and just delighted with any manifestation of yourself, bad or good.
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