“Your complete literary man writes all the time. It wakes him in the morning to write, it exercises him to write, it rests him to write. Writing is to him a visit from a friend, a cup of tea, a game of cards, a walk in the country, a warm bath, an after-dinner nap, a hot Scotch before bed, and the sleep that follows it. Your complete literary chap is a writing animal; and when he dies he leaves a cocoon as large as a haystack, in which every breath he has drawn is recorded in writing.”

— John Jay Chapman “Greek Genius,” in Greek Genius and Other Essays (New York: Moffat, Yard & Company, 1915), 280. view on Google Books

“For years, far too many years, I fell into the dangerous trap of being determined to finish a book despite having reached the conclusion half way through—or at the very least having become deeply suspicious—that in all probability this would not give me pleasure or profit. Yet essentially I am an optimist, and therefore, I suppose, when faced with undeniable evidence that a novel in which I am immersed is, for example, a bleak and depressing saga of frustrated sexual longing and entirely populated by characters of scarcely conceivable dullness, part of me hopes that twenty pages hence there awaits bright flashes of comic genius that may yet salvage the experience. Optimistic though I continue to be, from the vantage point of comfortable middle age I can now say that this is never true and that certainly the healthiest, most sensible, and efficient strategy is to abandon ship.”

—Angus Trumble, “Well-Read Lovers; Constant Rejection,” Ask the Paris Review, November 18, 2011.

A quote from Josh Kaufman’s new book “The Personal MBA”:

To keep yourself from feeling overwhelmed, track your projects and tasks separately. Here’s what I do: I always carry around a notebook that contains a 3 x 5 index card. The card contains a short list of my active projects. The notebook contains my to-do list: the next actions that will move my projects forward, which I process using a system called “Autofocus”, which was created by Mark Forster. The system helps me use my intuition to identify what I can do right now to make progress.

“The need for success and the fear of failure are two aspects of the same inner attitude. For it isn’t failure that causes the sinking sensation we all know, but the fear of failure. Failure isn’t the enemy—fear is. One learns, after all, by failing. This is elementary; we all know it, except when it applies to ourselves…”
— Carla Needleman
The Work of Craft (London: Arcana, 1986), 16.
view on Google Books

Kahneman never grapples philosophically with the nature of rationality. He does, however, supply a fascinating account of what might be taken to be its goal: happiness. What does it mean to be happy? When Kahneman first took up this question, in the mid 1990s, most happiness research relied on asking people how satisfied they were with their life on the whole. But such retrospective assessments depend on memory, which is notoriously unreliable. What if, instead, a person’s actual experience of pleasure or pain could be sampled from moment to moment, and then summed up over time? Kahneman calls this “experienced” well-being, as opposed to the “remembered” well-being that researchers had relied upon. And he found that these two measures of happiness diverge in surprising ways. What makes the “experiencing self” happy is not the same as what makes the “remembering self” happy. In particular, the remembering self does not care about duration — how long a pleasant or unpleasant experience lasts. Rather, it retrospectively rates an experience by the peak level of pain or pleasure in the course of the experience, and by the way the experience ends.

It is helpful to write always at the same time of day. Scheduled obligations often raise problems, but an hour or two can almost always be found in the early morning-when the telephone never rings and no one knocks at the door. And it is important that you write something, regardless of quantity, every day. As the Romans put it, Nulla dies sine linea-Noday without a line. (They were speaking of lines drawn by artists, but the rule applies as well to the writer.) As a result of all this, the setting almost automatically evokes verbal behavior. No warm-up is needed. A circadian rhythm develops that is extremely powerful. At a certain time every day, you will be highly disposed to engage in serious verbal behavior.

B.F. SKINNER

From James Webb Young, The Diary of an Ad Man: The War Years, June 1, 1942-December 31, 1943 (Chicago: Advertising Publications, 1944)—

“Talked with domestic science editor of one of the women’s magazines. She told me that she had tested literally thousands of recipes, covering almost every kind of food. Asked her what, after all this, she considered the best eating. She thought it was pretty hard to beat a good sirloin steak, washed down with straight whiskey. Western gal.” (via The Poetry of Sight: Sirloin Steak and Whiskey)

Coleridge demurred only partly because he was afraid of the enormous outlay of energy it takes to shepherd a young man to intellectual awareness (although that fear alone is usually what stops would-be preceptors in their tracks); the rest of it was the result of his up-close estimation of Charles: underneath the languid ‘Romantic’ pose of philosophical questing, there wasn’t a whole lot going on (“no birdsong in the hedgerow,” as one contemporary put it).

“How do you and your wife split songwriting chores?“

It’s an adventure. You’ve got a flashlight, I’ve got the map. You hold the nail, I’ll swing the hammer. You wash, I’ll dry. If two people know the same thing, one of you is unnecessary. My wife has dreams and is telepathic and clairvoyant and female. I write from the news or what I see in my field of vision. I’m boots and hats and pocketknives. She’s filled with musical and lyrical surprises. She’s a joy to work with.”

From Tom Wait’s Library

A great way to give thanks…

for the privileges we’ve got is to do important work.

Your job, your internet access, your education, your role in a civilized society… all of them are a platform, a chance to do art, a way for you to give back and to honor those that enabled you to get to this point.

For every person reading this there are a thousand people (literally a thousand) in underprivileged nations and situations that would love to have your slot. Don’t waste it.

momentofmoore:

The Extraordinary Works Of Alan Moore

The Extraordinary Works Of Alan Moore (2002), artist: Dave McKean

A good magazine article doesn’t need an introduction, so don’t begin with the background of your subject, how you happened to get interested in it, why the reader should read it, or how you obtained the information for it. Begin your article with conflict that produces tension, often revealed by including a brief example or anecdote and problem that will be resolved at the end. It’s a good rule to start as near the end as possible and then plunge your reader into the central tension. When you’ve involved your reader in this way, weave in background facts or information as you think the reader needs it to understand the purpose and point of your piece.

DONALD M. MURRAY

Before the crisis years of the AIDS epidemic I had that sense that one does of a long, expansive living ahead of me. When my friends and my partner began to sicken and die around me, that shifted everything in a sense that you just don’t know what prospect is ahead of you. For me, that exacerbates desire. On the other hand you have to negotiate because desire enflamed can become a blinder. It’s a balancing act I have never felt especially good at.

Secretly, I believe balance is boring. I used to take yoga classes and there’s these exercises where you’re supposed to be standing on one leg in this position as a stork, and I was terrible at them! I would get annoyed because they would always turn it into metaphor: “If you don’t have physical balance it means you need to seek balance”; No I don’t!

7 Rules for Dialogue

1. Dialogue should be brief.

2. It should add to the reader’s present knowledge.

3. It should eliminate the routine exchanges of ordinary conversation.

4. It should convey a sense of spontaneity but eliminate the repetitiveness of real talk.

5. It should keep the story moving forward.

6. It should be revelatory of the speaker’s character, both directly and indirectly.

7. It should show the relationships among people.

ELIZABETH BOWEN 


7 Rules for Dialogue