A Quote by Phyllis Bottome
If a writer is true to his characters they will give him his plot. Observations must play second fiddle to integrity.
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Unless a writer lives with a periodic delusion of his greatness, he will not continue writing. He must believe, against all reason and evidence, that the public will experience a catastrophic loss if he does not complete his novel. The public is just clamoring to give him his fame. From the book Dare to be a Great Writer: 329 Keys to Powerful Fiction by
The Frenchman, easy, debonair, and brisk, Give him his lass, his fiddle, and his frisk, Is always happy, reign whoever may, And laughs the sense of mis'ry far away.
Take a Nicodemus and put a Joseph Smith's spirit in him, and what do you have? Take a Da Vinci or a Michelangelo or a Shakespeare and give him a total knowledge of the plan of salvation of God and personal revelation and cleanse him and take a look at the statues he will carve and the murals he will paint and the masterpieves he will produce. Take a handel with his purposeful effort, his superb talent, his earnest desire to properly depict the story, and give him inward vision of the whole true story and revelation, and what a master you will have!
I go out to preach with two propositions in mind. First, every person ought to give his life to Christ. Second, whether or not anyone else gives him his life, I will give him mine.
His soul is in his stories. I once asked him who inspired him to create his characters, and his answer was no one. That all his characters were himself.
The second fiddle. I can get plenty of first violinists, but to find someone who can play the second fiddle with enthusiasm
The astronomer is, in some measure, independent of his fellow astronomer; he can wait in his observatory till the star he wishes to observe comes to his meridian; but the meteorologist has his observations bounded by a very limited horizon, and can do little without the aid of numerous observers furnishing him contemporaneous observations over a wide-extended area.
It is easier for the reader to judge, by a thousand times, than for the writer to invent. The writer must summon his Idea out of nowhere, and his characters out of nothing, and catch words as they fly, and nail them to the page. The reader has something to go by and somewhere to start from, given to him freely and with great generosity by the writer. And still the reader feels free to find fault.
He invented this idea of telling the life story of a great writer through becoming his characters and becoming him. It was such a pleasure and I thought we must find another writer.
It was a testament to the resilience of humanity. Give a man a tree and he will make it into a boat; give him a leaf and he will curve it into a cup and drink water from it; give him a rock and he will make a weapon to protect himself and his family. Give a man a small box and a limit of 140 characters to type into it, and he will adapt it to fight an oppressive dictatorship in the Middle East.
It is only the basest writer who cannot speak of the sea without talking of "raging waves," "remorseless floods," "ravenous billows," etc.; and it is one of the signs of the highest power in a writer to check all such habits of thought, and to keep his eyes fixed firmly on the pure fact , out of which if any feeling comes to him or his reader, he knows it must be a true one.
A writer never forgets the first time he accepted a few coins or a word of praise in exchange for a story. He will never forget the sweet poison of vanity in his blood and the belief that, if he succeeds in not letting anyone discover his lack of talent, the dream of literature will provide him with a roof over his head, a hot meal at the end of the day, and what he covets the most: his name printed on a miserable piece of paper that surely will outlive him. A writer is condemned to remember that moment, because from then on he is doomed and his soul has a price.
I will make an average man into an average dancer, provided he be passably well made. I will teach him how to move his arms and legs, to turn his head. I will give him steadiness, brilliancy and speed; but I cannot endow him with that fire and intelligence, those graces and that expression of feeling which is the soul of true pantomime.
If, while observing the boundless universe, the writer is able to scrutinise his own self as well as others, the resulting incisiveness of his observations will far surpass objective descriptions of reality.
People do tell a writer things that they don't tell others. I don't know why, unless it is that having read one or two of his books they feel on peculiarly intimate terms with him; or it may be that they dramatize themselves and, seeing themselves as it were as characters in a novel, are ready to be as open with him as they imagine the characters of his invention are.
Those who refuse to play second fiddle may wind up playing no fiddle at all.
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