I have every sympathy for writers. It's a mystery to me what they do. I can edit. I can cross out and say, 'I'm not saying that' or, 'How about we move this to here? Wouldn't that make that bit of the story better?' But where any of it comes from is beyond me. I will never write a play or a novel.
It is long ere we discover how rich we are. Our history, we are sure, is quite tame: we have nothing to write, nothing to infer. But our wiser years still run back to the despised recollections of childhood, and always we are fishing up some wonderful article out of that pond; until, by and by, we begin to suspect that the biography of the one foolish person we know is, in reality, nothing less than the miniature paraphrase of the hundred volumes of the Universal History.
Now as to magic. It is surely absurd to hold me "weak" or otherwise because I choose to persist in a study which I decided deliberately four or five years ago to make, next to my poetry, the most important pursuit of my life...If I had not made magic my constant study I could not have written a single word of my Blake book, nor would The Countess Kathleen have ever come to exist. The mystical life is the center of all that I do and all that I think and all that I write.
If I wanted to write, I had to be willing to develop a kind of concentration found mostly in people awaiting execution. I had to learn technique and surrender my ignorance.
If one could be friendly with women, what a pleasure - the relationship so secret and private compared with relations with men. Why not write about it truthfully?
If a writer of prose knows enough about what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an iceberg is due to only one-eighth of it being above water. A writer who omits things because he does not know them only makes hollow places in his writing.
It has always seemed to me that so long as you produce your dramatic effect, accuracy of detail matters little. I have never striven for it and I have made some bad mistakes in consequence. What matter if I hold my readers?
When I was in Washington, I would usually get home from the Capitol at about 7:30 or 8, and I would try to write as much as possible. It was almost all in the wee hours.
Everyone judges plays as if they were very easy to write. They don't know that it is hard to write a good play, and twice as hardand tortuous to write a bad one.