The reason one writes isn't the fact he wants to say something. He writes because he has something to say.
Interpretation
Writing is driven by a deeper purpose than mere communication; it's about expressing intrinsic thoughts and ideas.
F. Scott Fitzgerald's quote underscores the distinction between mere expression and the deeper intent behind writing. It suggests that true writing stems from a profound need or an intrinsic urge to communicate meaningful ideas, rather than simply wanting to share information. This highlights the importance of authenticity and depth in creative endeavors.
In practice
During a workshop on creative writing, one might refer to this quote to emphasize the importance of genuine expression.
Don't be so anxious about it,' she laughed. 'I'm not used to being loved. I wouldn't know what to do; I never got the trick of it.' She looked down at him, shy and fatigued. 'So here we are. I told you years ago that I had the makings of Cinderella.' He took her hand; she drew it back instinctively and then replaced it in his. 'Beg your pardon. Not even used to being touched. But I'm not afraid of you, if you stay quiet and don't move suddenly.
The test of a first-rate intelligence is the ability to hold two opposed ideas in mind at the same time and still retain the ability to function.
It was about then [1920] that I wrote a line which certain people will not let me forget: "She was a faded but still lovely woman of twenty-seven."
The words seemed to bite physically into Gatsby.
But you can love more than just one person, can't you?
A sudden gust of rain blew over them and then another - as if small liquid clouds were bouncing along the land. Lightning entered the sea far off and the air blew full of crackling thunder. The table cloths blew around the pillars. They blew and blew and blew. The flags twisted around the red chairs like live things, the banners were ragged, the corners of the table tore off through the burbling billowing ends of the cloths.
At first the music almost repelled me, it was so intense, and this man made no attempt to sugarcoat what he was trying to say, or play. It was hard-core, more than anything I had ever heard. After a few listenings I realized that, on some level, I had found the master, and that following this man's example would be my life's work.
Nothing contributes to the entertainment of the reader more, than the change of times and the vicissitudes of fortune.
The experimental poetry thing is not my thing. It's a programme of the avant-garde: basically a refusal of the kind of poetry I write.
Dancers today can do anything; the technique is phenomenal. The passion and the meaning to their movement can be another thing.
What is real for me are the illusions I create with my paintings. Everything else is quicksand.
The wonderful thing about writing for theatre is you can go anywhere you want with the language. There are no limits. With film, they frown on language - it's always 'Too many words.'
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