We can at least try to understand our own motives, passions, and prejudices, so as to be conscious of what we are doing when we apeal to those of others. This is very difficult, because our own prejudice and emotional bias always seems to us so rational.
No one ever wrote a story yet without some real emotional drive behind it--and I have not that drive except where violations of the natural order ... defiances and evasions of time, space, and cosmic law ... are concerned.
As applied to substance abuse, the cognitive approach helps individuals
to come to grips with the problems leading to emotional distress
and to gain a broader perspective on their reliance on drugs for
pleasure and/or relief from discomfort.
Stop turning on your emotional television to watch the same program over & over again, the one that shows how much you suffered from a certain loss: that is only poisoning you, nothing else.
I set myself up for a lot of trouble by wanting to tell a story that is fairly earnest and emotional and expressive, but to do it in the most subtle, realistic way.
To me exposition always contains tenderness. While a dramatized scene is a way of proving and guaranteeing an emotional experience for the reader, exposition assumes that the reader is sophisticated and can see the universal.
The true critic is he who bears within himself the dreams and ideas and feelings of myriad generations, and to whom no form of thought is alien, no emotional impulse obscure.
We can at least try to understand our own motives, passions, and prejudices, so as to be conscious of what we are doing when we apeal to those of others. This is very difficult, because our own prejudice and emotional bias always seems to us so rational.
Imagination that compares and contrasts with what is around as well as what is better and worse is the living power and prime agent of all human perception judgement and emotional reaction.