A Quote by Ernest Hemingway
I always try to write on the principle of the iceberg. There is seven-eighths of it underwater for every part that shows.
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In real life, when you have an emotional experience, it's never just because of the thing that's been said. There's the backstory. It's like [Ernest] Hemingway's iceberg theory - the current emotional moment is the tip of the iceberg and all of the past is the seven-eighths of the iceberg that's underwater.
Is it not clear that a reviewer's psyche, like an iceberg, is seven-eighths beneath the surface?
I don't know what the effective ratio would be, but I've always had some sort of intuition that for every hour you spend in the company of other human beings, you need "x" number of hours alone. Now, what "x" represents I don't really know; it might be two and seven-eighths or seven and two-eighths, but it is a substantial ratio.
There is seven-eights of it under water for every part that shows. Anything you know you can eliminate and it only strengthens your iceberg. It is the part that doesn't show. If a writer omits something because he does not know it then there is a hole in the story.
I always loved putting on shows - when you're the youngest of seven and five are older sisters, you've got to get noticed somehow! I did puppet shows and magic shows... even ventriloquism. My doll's name was 'Dan,' and I used to write these scripts, and my schoolmate hid under the table and supplied Dan's voice.
Ah, Scotland. I am three-parts Scottish and terribly proud of it, although maybe we should divide it into eighths, because my two-eighths are Danish and English, the Lumley part. But the bulk of the rest of me is Scottish - and Scottish ministers especially.
English life is seventh-eighths below the surface, like an iceberg, and living in England for a year constitutes merely an introduction to an introduction to an introduction to it.
We try to live by the secret of sevens. A friend, who has been married for over 40 years, told us about this magic. Make and keep a date every seven days, take a night away alone, for yourself, every seven weeks, and schedule an adult-only vacation every seven months.
The vast majority of psychopaths, like an iceberg, are underwater, and like an iceberg, they are inert. They do nothing. They're just there. They torment their spouse by being unempathic, but they don't beat her or kill her. They bully coworkers, but they don't burn the office. They are not dramatic. They are pernicious. Most psychopaths are subtle. They are more like poison than a knife, and they are more like slow-working poison than cyanide.
Yes, I, well, when I write, as often as I can, I try to write as if I'm talking to people. It doesn't always work, and one shouldn't always try it, but I try and write as if I am talking, and trying to engage the reader in conversation.
Hemingway, damn his soul, makes everything he writes terrifically exciting (and incidentally makes all us second-raters seem positively adolescent) by the seemingly simple expedient of the iceberg principle - three-fourths of the substance under the surface. He comes closer that way to retaining the magic of the original, unexpressed idea or emotion, which is always more stirring than any words. But just try and do it!
Every single cell in the human body replaces itself over a period of seven years. That means there's not even the smallest part of you now that was part of you seven years ago.
I am a highly disciplined person. I get up at seven every morning and, still in my pajamas, sit down at my desk where my checkered ring binders and my fountain pen are ready for use. I try to write two pages every day.
I write from seven to about noon. I used to try to write longer, but I read and I found that I was always getting myself tired by working in the afternoon and then I was just throwing out what I wrote in the afternoon, so writing then was counterproductive.
I don't write shows with dialogue where actors have to memorize dialogue. I write the scenes where we know everything that's going to happen. There's an outline of about seven or eight pages, and then we improvise it.
The danger that keeps me just a little frightened with every book I write, however, is that I'll overreach myself once too often and try to write a story that I'm just plain not talented or skilful enough to write. That's the dilemma every storyteller faces. It is painful to fail. But it is far sadder when a storyteller stops wanting to try.
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