61
" You are a hater of activity in life; quite right, for before there can be any meaning in activity, life must have continuity, and this your life lacks. You occupy yourself with your studies, that is true, you are even industrious. But it is only for your own sake and is done with as little teleology as possible. Otherwise you are unoccupied; like those workers in the Gospel, you stand idle in the marketplace (Matthew 20:3). You stick your hands in your pockets and observe life. Then you rest in despair, nothing occupies you, you don’t step aside for anything: “if someone were to throw a tile down from the roof I wouldn’t get out of the way.” You are like someone dying, you die daily, not in the profound, serious sense in which one usually takes that word, but life has lost its reality and “you always reckon your lifetime from one day’s notice to quit to the next”. You let everything pass you by, it makes no impression, but then suddenly something comes which grips you, an idea, a situation, a smile from a young girl, and then you are “in touch”; for just as on some occasions you are not in touch, so at others you are in touch and of service in every way. Wherever something is going on you are “in touch”. You conduct your life as it is your custom to behave in a crowd, you “work your way into the thickest of it, trying if possible to be forced up above the others so as to be able to lie on top of them”; if you manage to get up there you “make yourself as comfortable as possible”, and this is also the way you let yourself be carried along through life. But when the crowd disperses, when the event is over, you stand once more at the street corner and look at the world. A dying person possesses, as you know, a supernatural energy, and so too with you. If there is an idea to be thought through, a work to be read through, a plan to be carried out, a little adventure to be experienced - yes, a hat to be bought, you take hold of the matter with an immense energy. According to circumstance, you work on untiringly for a day, for a month; you are happy in the assurance that you still have the same abundance of strength as before, you take no rest, “no Satan can keep up with you”. If you work together with others, you work them into the ground. But then when the month or, what you always consider the maximum, the six months have gone, you break off and say, “and that’s the end of the story”. You retire and leave it all to the other party, or if you have been working alone you talk to no one about what you were doing. You then pretend to yourself and others that you have lost the desire and flatter yourself with the vain thought that you could have kept working with the same intensity if that is what you desired. But that is an immense deception. You would have succeeded in finishing it, as most others, if you had patiently willed it so, but you would have found out at the same time that it needs a kind of perseverance quite different from yours. "
63
" I don't think immediate tragedy is a very good source of art. It can be, but too often it's raw and painful and un-dealt-with. Sometimes art can be a really good escape from the intolerable, and a good place to go when things are bad, but that doesn't mean you have to write directly about the bad thing; sometimes you need to let time pass, and allow the thing that hurts to get covered with layers, and then you take it out, like a pearl, and you make art out of it.When my father died, on the plane from his funeral in the UK back to New York, still in shock, I got out my notebook and wrote a script. It was a good place to go, the place that script was, and I went there so deeply and so far that when we landed Maddy had to tap me on the arm to remind me that I had to get off the plane now. (She says I looked up at her, puzzled, and said " But I want to find out what happens next." ) It was where I went and what I did to cope, and I was amazed, some weeks later when I pulled out that notebook to start typing, to find that I'd written pretty much the entire script in that six hour journey. "
65
" Hear me now or regret it later: Everything you write must be read aloud. Once all the context items are in place, this is the final test for any written piece...Do not neglect your sense of hearing in the process of writing and reading. As a longtime teacher of English as a foreign language, I can tell you on good authority that you have been listening to the English language at least five or six years longer than you have been writing and reading. And, most probably, your ears also had eighteen or more years of familiarity with the language before you began to read or write with a writer's sensibility. For these reasons, your ears know when things sound okay, good, beautiful, strange, awkward, or just plain bad, before your eye can pick up on such things...Your written voice should burn with the fire of fervent prayer, soothe like a friend's voice during a late-night phone call, alure like a lover's whisper. You must, through your accessible, infinitely read-aloudable voice, make your audience into an insatiable reader of your words. "
71
" we as authors have been writing about people we aren't for forever. We find a way to empathise, we find a way in. Female characters are no different. All they are are characters. They are people too. Instead of asking yourself, " How do I write this female soldier?" ask yourself, " How do I write this soldier? Where is she from, how was she raised, does she have a sense of humour? Is she big and tall, is she short and petite? How does her size affect her ability to fight? What is her favourite weapon, her least favourite? Why? Is she more logical than emotional? The other way around? Was she an only child and spoiled, was she the eldest of six siblings and a surrogate mother? How does that upbringing affect how she interacts with her team? etc etc and so forth." Notice how the first question gets you some kind of broad, generalised answer, likely resulting in a stereotype, and how the second version asks lots and lots of smaller questions with the goal of creating someone well rounded.One would hope, really, that we as authors ask such detailed questions of all our characters, regardless of gender.So let me, at long last, actually answer the original question:" How do I write a female character?" Write her the way you would write any other character. Give her dimension, give her strength but please also don't forget to give her weaknesses (for a totally strong nothing can beat her kind of girl is not a person, she's again a type - the polar opposite yet exactly the same as the damsel in distress).Create a person. "
74
" The Cold Within" Six humans trapped in happenstanceIn dark and bitter cold, Each one possessed a stick of wood, Or so the story's told.The first woman held hers backFor of the faces around the fire,She noticed one was black.The next man looking across the waySaw not one of his church,And couldn't bring himself to giveThe fire his stick of birch.The third one sat in tattered clothesHe gave his coat a hitch,Why should his log be put to use,To warm the idle rich?The rich man just sat back and thoughtOf the wealth he had in store,And how to keep what he had earned,From the lazy, shiftless poor.The black man's face bespoke revengeAs the fire passed from sight,For all he saw in his stick of woodWas a chance to spite the white.The last man of this forlorn groupDid naught except for gain,Giving only to those who gave,Was how he played the game.The logs held tight in death's still handsWas proof of human sin,They didn't die from the cold without,They died from the cold within. "
75
" You might think that, by now, people would have become accustomed to the idea of natural catastrophes. We live on a planet that is still cooling and which has fissures and faults in its crust; this much is accepted even by those who think that the globe is only six thousand years old, as well as by those who believe that the earth was " designed" to be this way. Even in such a case, it is to be expected that earthquakes will occur and that, if they occur under the seabed, tidal waves will occur also. Yet two sorts of error are still absolutely commonplace. The first of these is the idiotic belief that seismic events are somehow " timed" to express the will of God. Thus, reasoning back from the effect, people will seriously attempt to guess what sin or which profanity led to the verdict of the tectonic plates. The second error, common even among humanists, is to borrow the same fallacy for satirical purposes and to employ it to disprove a benign deity. "
