[Six principles that make for a good story:] 1. Absence of lengthy verbiage of a political-social-economic nature; 2. total objectivity; 3. truthful descriptions of persons and objects; 4. extreme brevity; 5. audacity and originality: flee the stereotype; 6. compassion.
Why are we worn out? Why do we, who start out so passionate, brave, noble, believing, become totally bankrupt by the age of thirty or thirty-five? Why is it that one is extinguished by consumption, another puts a bullet in his head, a third seeks oblivion in vodka, cards, a fourth, in order to stifle fear and anguish, cynically tramples underfoot the portrait of his pure, beautiful youth? Why is it that, once fallen, we do not try to rise, and, having lost one thing, we do not seek another? Why?
Russian forests crash down under the axe, billions of trees are dying, the habitations of animals and birds are laid waste, rivers grow shallow and dry up, marvelous landscapes are disappearing forever.... Man is endowed with creativity in order to multiply that which has been given him; he has not created, but destroyed. There are fewer and fewer forests, rivers are drying up, wildlife has become extinct, the climate is ruined, and the earth is becoming ever poorer and uglier.
My own experience is that once a story has been written, one has to cross out the beginning and the end. It is there that we authors do most of our lying . . . one must ruthlessly suppress everything that is not concerned with the subject. If, in the first chapter, you say there is a gun hanging on the wall, you should make quite sure that it is going to be used further on in the story.
When a person hasn't in him that which is higher and stronger than all external influences, it is enough for him to catch a good cold in order to lose his equilibrium and begin to see an owl in every bird, to hear a dog's bark in every sound.