My own education has been entirely controversial: that is why I know what I am writing about; and appear eccentric to dogmatically educated Old School Ties whose heads are stuffed with obsolete shibboleths.
I try not to write more than two or three, I try to just write one if possible, I write till the end at least a draft of a play or a novel; but sometimes, I'll take a break for a couple weeks for a project that is paying me money like a television project which I try to stay away from just to stay financially ahead of the game.
The greatest thing by far is to have a command of metaphor. This alone cannot be imparted by another; it is the mark of genius, for to make good metaphors implies an eye for resemblances.
Fiction is like a spider's web, attached ever so slightly perhaps, but still attached to life at all four corners. Often the attachment is scarcely perceptible.
Writing checks to the IRS that include strings of zeros does not bother me ... Overall, we feel extraordinarily lucky to have been dealt a hand in life that enables us to write large checks to the government rather than one requiring the government to regularly write checks to us-say, because we are disabled or unemployed.
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.
Whether the darken'd room to muse invite, Or whiten'd wall provoke the skew'r to write; In durance, exile, Bedlam, or the Mint, Like Lee or Budgel I will rhyme and print.
There's certainly more new SF available than when I started writing. That means there's also more bad SF available. Whether there is also more good is a matter for future historians of the field.
I was able to study 50 years of leadership theory and practicum in my master's program at Seton Hall, and it has provided the backbone of the knowledge we use every day. My undergraduate work was in journalism, and my early work as a newspaper reporter taught me how to research, write, and rewrite.
It seems the best work I do is when I am really allowing the unconscious to rule the page and then later I can go back and hack around and make sense of things.
At night, when the objective world has slunk back into its cavern and left dreamers to their own, there come inspirations and capabilities impossible at any less magical and quiet hour. No one knows whether or not he is a writer unless he has tried writing at night.
When Walt Whitman writes in seeming defiance of tradition, he needs tradition for his protection, for the butcher and the baker and the candlestick-maker grow merry over him when they meet his work by chance.