I Hate To Break It To You, But It’s Entirely Possible That You’re Both Fucking Morons
(Source: tastemybraincandy)
(Source: bloodvictory)
David Foster Wallace’s postcard to Don DeLillo, courtesy of Electric Literature:
9-1 (CARDS WERE GIFTS–NO OFFENSE INTENDED)
DEAR D2, I AM NOW A LICENSED CA DRIVER, WHICH FROM THE SENSE I GET IS OFFICIAL STATE-CITIZENSHIP IF ANYTHING HERE IS. THERE IS A PALM TREE IN MY BACK YARD THAT’S 11 1/2 FEET AROUND. A BRICK SHITHOUSE OF A PALM TREE. ¶ THANK YOU FOR YOUR NOTE. I HAVE NOT YET READ THE GADDIS, BUT I’M IN CONTACT WITH FRANZEN, WHO’S APPARENTLY BEEN CHARGED THE TASK OF A COMPREHENSIVE GADDIS PIECE BY THE NYer, AND IS ‘STRUGGLING’ WITH IT. ¶ THIS BLOODY MENGENLEHRE BOOK (IT INTIMIDATES ME THAT YOU KNOW THIS TERM) TURNS OUT NOT TO BE DONE — BOTH THE MATH-EDITOR AND THE GENERAL EDITOR WANT REPAIRS — OFTEN THEIR DEMANDS ARE MUTUALLY CONTRADICTORY. I WILL END UP HAVING SPENT 11 MONTHS FULL-TIME ON A PROJECT I’D PLANNED TO KNOCK OFF PART-TIME IN 4. I NEVER WANT TO SEE ANOTHER FOURIER SERIES AS LONG AS I LIVE. ¶ I’D LOVE A CHANCE TO EYEBALL YR. NEW NOVEL IF YOU DON’T OBJECT. AND I HOPE VALPARAISO IS IN GOOD HANDS WITH THE TROUPE.
Y.V.T.
DAVID WALLACE
Some Fill With Each Good Rain - Hafiz
There are different wells within your heart.
Some fill with each good rain,
Others are too deep for that.
In one well,
You have just a few precious cups of water,
That “love” is literally something of yourself,
It can grow as slow as a diamond
If it is lost.
Your love
Should never be offered to the mouth of a
Stranger,
Only to someone
Who has the valor and daring
To cut pieces of their own soul off with a knife
Then weave them into a blanket
To protect you.
There are different wells within us,
Some fill with each good rain,
Other are far, far too deep
For that.
![theatlantic:
6 Writing Tips From John Steinbeck
1. Abandon the idea that you are ever going to finish. Lose track of the 400 pages and write just one page for each day, it helps. Then when it gets finished, you are always surprised.
2. Write freely and as rapidly as possible and throw the whole thing on paper. Never correct or rewrite until the whole thing is down. Rewrite in process is usually found to be an excuse for not going on. It also interferes with flow and rhythm which can only come from a kind of unconscious association with the material.
3. Forget your generalized audience. In the first place, the nameless, faceless audience will scare you to death and in the second place, unlike the theater, it doesn’t exist. In writing, your audience is one single reader. I have found that sometimes it helps to pick out one person—a real person you know, or an imagined person and write to that one.
4. If a scene or a section gets the better of you and you still think you want it—bypass it and go on. When you have finished the whole you can come back to it and then you may find that the reason it gave trouble is because it didn’t belong there.
5. Beware of a scene that becomes too dear to you, dearer than the rest. It will usually be found that it is out of drawing.
6. If you are using dialogue—say it aloud as you write it. Only then will it have the sound of speech.
Read more. [Image: AP]](http://25.media.tumblr.com/tumblr_m0sevcgD2Z1qcokc4o1_500.jpg)
6 Writing Tips From John Steinbeck
1. Abandon the idea that you are ever going to finish. Lose track of the 400 pages and write just one page for each day, it helps. Then when it gets finished, you are always surprised.
2. Write freely and as rapidly as possible and throw the whole thing on paper. Never correct or rewrite until the whole thing is down. Rewrite in process is usually found to be an excuse for not going on. It also interferes with flow and rhythm which can only come from a kind of unconscious association with the material.
3. Forget your generalized audience. In the first place, the nameless, faceless audience will scare you to death and in the second place, unlike the theater, it doesn’t exist. In writing, your audience is one single reader. I have found that sometimes it helps to pick out one person—a real person you know, or an imagined person and write to that one.
4. If a scene or a section gets the better of you and you still think you want it—bypass it and go on. When you have finished the whole you can come back to it and then you may find that the reason it gave trouble is because it didn’t belong there.
5. Beware of a scene that becomes too dear to you, dearer than the rest. It will usually be found that it is out of drawing.
6. If you are using dialogue—say it aloud as you write it. Only then will it have the sound of speech.
Read more. [Image: AP]
(Source: viafrank)
