All the revision in the world will not save a bad first draft: for the architecture of the thing comes, or fails to come, in the first conception, and revision only affects the detail and ornament, alas!
T. E. LawrenceRead
Misery, anger, indignation, discomfort-those conditions produce literature. Contentment-never. So there you are.
Interpretation
Creativity often stems from negative emotions rather than positive ones.
T. E. Lawrence suggests that the most profound and impactful literature arises from feelings of misery, anger, and discomfort. In contrast, he posits that contentment lacks the depth and emotional resonance necessary to fuel genuine creative expression, highlighting a common belief that struggle can lead to greater artistic achievements.
In practice
This quote can be referenced in a literary discussion about the motivations behind famous works of art.
All the revision in the world will not save a bad first draft: for the architecture of the thing comes, or fails to come, in the first conception, and revision only affects the detail and ornament, alas!
In peace-armies discipline meant the hunt, not of an average but of an absolute; the hundred per cent standard in which the ninety-nine were played down to the level of the weakest man on parade.... The deeper the discipline, the lower was the individual excellence; also the more sure the performance.
The common base of all the Semitic creeds, winners or losers, was the ever present idea of world-worthlessness. Their profound reaction from matter led them to preach bareness, renunciation, poverty; and the atmosphere of this invention stifled the minds of the desert pitilessly.
Arab civilizations had been of an abstract nature, moral and intellectual rather than applied; and their lack of public spirit made their excellent private qualities futile. They were fortunate in their epoch: Europe had fallen barbarous; and the memory of Greek and Latin learning was fading from men's minds.
We lived many lives in those whirling campaigns, never sparing ourselves; yet when we achieved, and the new world dawned, the old men came out again and took our victory to re-make in the likeness of the former world they knew.
When I am angry, I pray God to swing our globe into the fiery sun and prevent the sorrows of the not-yet-born: but when I am content, I want to lie forever in the shade, till I become a shade myself.
The emotion of beauty is always obscured by the appearance of the object. Therefore, the object must be eliminated from the picture.
Originality is the only thing that counts. But the originator uses material and ideas that occur round him and pass through him. And out of his experience comes the original creation.
The trouble with a series as it gets older is it can feel like a tradition, and tradition is the enemy of suspense, and it's the enemy of comedy. It's the enemy of everything, really. So you have to shake it up.
Your film is like your children. You might want a child with certain qualities, but you are never going to get the exact specification right. The film has a privilege to live its own life and develop its own character. To suppress this is dangerous. It is an approach that works the other way too: sometimes the footage has amazing qualities that you did not expect.
I'm a brown girl from a Punjabi pind raised in Toronto. I don't expect literary critics and purists to understand the nuances of my experiences, and the experiences of the people around me... And my tradition holds that there is a magic in the written word. So how I write, what I write of, and why I write all comes naturally.
Writers collect stories of rituals: John Cheever putting on a jacket and tie to go down to the basement, where he kept a desk near the boiler room. Keats buttoning up his clean white shirt to write in, after work.
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