I think that's always been part of the thinking behind the script, that - and I really tried really hard to impress that upon the staff of the show, the animation staff - to try to get them to understand that we would only be able to get away with what we were writing if the visuals were appealing enough that it was like a balance, and even people who didn't like what they were hearing would still not want to turn away because what they were seeing was so nice. So that was kind of my hunch, and I think it worked.
I'll give you the sole secret of short-story writing, and here it is: Rule 1. Write stories that please yourself. There is no rule 2. The technical points you can get from Bliss Perry. If you can't write a story that pleases yourself, you will never please the public. But in writing the story forget the public.
The poet's mind is in fact a receptacle for seizing and storing up numberless feelings, phrases, images, which remain there until all the particles which can unite to form a new compound are present together.
In the learned journal, in the influential newspaper, I discern no form; only some irresponsible shadow; oftener some monied corporation, or some dangler, who hopes, in the mask and robes of his paragraph, to pass for somebody. But through every clause and part of speech of the right book I meet the eyes of the most determined men; his force and terror inundate every word: the commas and dashes are alive; so that the writing is athletic and nimble,--can go far and live long.
I don't know where the characters are going to go or what's going to happen. I know that something inevitable will happen. I know that they want certain things and they're in a certain room and they smell like this and they look like that. More often than not, an entropy creeps in that strangles me, and then the inevitable happens. I don't know if I have the ability to write an ending like My Fair Lady's, when everyone gets what they want after a few minor conflicts. If I tried to write that it would just be false. Or I'd have someone enter with a machine gun.
It is a pity he did not write in pencil. As you have no doubt frequently observed, the impression usually goes through -- a fact which has dissolved many a happy marriage.
The time to begin writing an article is when you have finished it to your satisfaction. By that time you begin to clearly and logically perceive what it is you really want to say.
That was one of things that surprised me so much when I was writing the poems. The contrasts between the haves and have-nots is so complicated. It's financial of course, but it's also the lifestyle choices. The more money people have the further away from each other they often want to be. So while I loved not being hungry and having new gear, etc. I missed the sounds of my neighbors and the kind of generosity people who are struggling together often show.
But what is more to the point is my belief that the habit of writing thus for my own eye only is good practice. It loosens the ligaments. Never mind the misses and the stumbles.
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.
For Tommy, on that hot and empty afternoon, was in a state of mind in which grown-up people go away and write books about their whole world, and stories about what it is like to be married, and plays about the important problems of modern times. Tommy, being only ten years old, was not able to do harm on this large and handsome scale.