A Quote by David Brin
Beware of self-indulgence. The romance surrounding the writing profession carries several myths: that one must suffer in order to be creative; that one must be cantankerous and objectionable in order to be bright; that ego is paramount over skill; that one can rise to a level from which one can tell the reader to go to hell. These myths, if believed, can ruin you. If you believe you can make a living as a writer, you already have enough ego.
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The word 'ego' is very important. The ego is an important element of being human, and of being creative. We need that ego in order to give us a confidence of doing what we're doing. Ego pushes us into the creative world in order to create for something more. I think that a great company of actors, they all have egos, very strong egos, but they're all prepared to share together in order to achieve something even better than that.
It's only recently that I've come to understand that writers are not marginal to our society, that they, in fact, do all our thinking for us, that we are writing myths and our myths are believed, and that old myths are believed until someone writes a new one.
For what are myths if not the imposing of order on phenomena that do not possess order in themselves? And all myths, however they differ from philosophical systems and scientific theories, share this with them, that they negate the principle of randomness in the world.
The more real things get, the more like myths they become. There have always been myths, but the myths of earlier times were, Im convinced, bad ones, because they made people sick. So certainly, if we can tell evil stories to make people sick, we can also tell good myths that make them well.
Thus science must begin with myths, and with the criticism of myths; neither with the collection of observations, nor with the invention of experiments, but with the critical discussion of myths, and of magical techniques and practices.
If you believe you can make a living as a writer, you already have enough ego.
In Buddhist ideology, the conventional self is that which is constructed in a way by the use of the pronoun, and when you realize there is no absolute ego there, no disconnected one, self, or ego, then that actually strengthens your conventional ego. It does so in the sense that then you realize it's a construction, and you can strengthen it in order to help others, or do whatever you're trying to do, it's not like you no longer know who you are. Then you can organize your behavior by using your ego, as it's now the pronoun.
Myths, as compared with folk tales, are usually in a special category of seriousness: they are believed to have "really happened,"or to have some exceptional significance in explaining certain features of life, such as ritual. Again, whereas folk tales simply interchange motifs and develop variants, myths show an odd tendency to stick together and build up bigger structures. We have creation myths, fall and flood myths, metamorphose and dying-god myths.
How often I have tried to tell writing students that the first thing a writer must do is love the reader and wish the reader well. The writer must trust the reader to be at least as intelligent as he is. Only in such well wishing and trust, only when the writer feels he is writing a letter to a good friend, only then will the magic happen.
Even revolution, which transforms a concrete situation of oppression by establishing the process of liberation, must confront this phenomenon. Many of the oppressed who directly or indirectly participate in revolution intend - conditioned by the myths of the old order - to make it their private revolution. The shadow of their former oppressor is still cast over them.
The term "self" seems a suitable one for the unconscious substrate whose actual exponent in consciousness is the ego. The ego stands to the self as the moved to the mover, or as object to subject, because the determining factors that radiate outward from the self surround the ego on all sides and are therefore supraordinate to it. The self, like the unconscious, as an a priori existent out of which the ego evolves. It is, so to speak, an unconscious prefiguration of the ego. It is not I who create myself; rather, I happen to myself.
Ego is something that everybody, creative especially, has to grapple with. You need enough ego to keep going but not so much ego that you're deaf or blind, that you're making a mistake and can't fix the course.
Then ego goes on growing, because the society needs you as an ego, not as a Self. The Self is irrelevant for the society; your periphery is meaningful. And there are many problems. The ego can be taught and the ego can be made docile and the ego can be forced to be obedient. The ego can be made to adjust, but not the Self. The Self cannot be taught, the Self cannot be forced. The Self is intrinsically rebellious, individual. It cannot be made a part of society.
This is something basic to be understood - the ego must come to a peak, it must be strong, it must have attained an integrity - only then can you dissolve it. A weak ego cannot be dissolved. And this becomes a problem.
Science must begin with myths, and with the criticism of myths.
There are some occasions in which a man must tell half his secret, in order to conceal the rest; but there is seldom one in which a man should tell all. Great skill is necessary to know how far to go, and where to stop.
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