When I have one martini, I feel bigger, wiser, taller. When I have a second, I feel superlative. When I have more, there's no holding me.
William FaulknerRead
Let the writer take up surgery or bricklaying if he is interested in technique. There is no mechanical way to get the writing done, no shortcut. The young writer would be a fool to follow a theory. Teach yourself by your own mistakes; people learn only by error. The good artist believes that nobody is good enough to give him advice. He has supreme vanity. No matter how much he admires the old writer, he wants to beat him.
Interpretation
Writing is a personal and individual journey that requires learning through experience rather than relying on theoretical advice.
This quote by William Faulkner emphasizes the importance of self-discovery and personal experience in the craft of writing. He suggests that aspiring writers should not strictly adhere to established theories or seek external validation, but instead embrace their own mistakes as vital learning tools. Faulkner highlights the inherent vanity of the artist, suggesting that a good writer is driven by a desire to surpass those they admire, which fuels their creative journey.
In practice
A motivational speech for a group of aspiring writers.
When I have one martini, I feel bigger, wiser, taller. When I have a second, I feel superlative. When I have more, there's no holding me.
I feel like a wet seed wild in the hot blind earth.
When grown people speak of the innocence of children, they dont really know what they mean. Pressed, they will go a step further and say, Well, ignorance then. The child is neither. There is no crime which a boy of eleven had not envisaged long ago. His only innocence is, he may not be old enough to desire the fruits of it...his ignorance is, he does not know how to commit it...
Maybe times are never strange to women: it is just one continuous monotonous thing full of the repeated follies of their menfolks.
He had a word, too. Love, he called it. But I had been used to words for a long time. I knew that that word was like the others: just a shape to fill a lack; that when the right time came, you wouldn't need a word for that any more than for pride or fear....One day I was talking to Cora. She prayed for me because she believed I was blind to sin, wanting me to kneel and pray too, because people to whom sin is just a matter of words, to them salvation is just words too.
Ever since then I have believed that God is not only a gentleman and a sport; he is a Kentuckian too.
Music itself is going to become like running water or electricity. So it's like, just take advantage of these last few years because none of this is ever going to happen again. You'd better be prepared for doing a lot of touring because that's really the only unique situation that's going to be left.
One must do the same subject over again ten times, a hundred times. In art nothing must resemble an accident, not even movement.
If there's one theme in all my work, it's about authenticity and self-expression. It's the idea that some things are, in some real sense, really you - or express what you and others aren't.
There is a kind of classlessness in the theater. The rehearsal pianist, the head carpenter, the stage manager, the star of the show-all are family.
Fiction, with its preference for what is small and might elsewhere seem irrelevant; its facility for smuggling us into another skin and allowing us to live a new life there; its painstaking devotion to what without it might go unnoticed and unseen; its respect for contingency, and the unlikely and odd; its willingness to expose itself to moments of low, almost animal being and make them nobly illuminating, can deliver truths we might not otherwise stumble on.
If you really do want to be an actor who can satisfy himself and his audience, you need to be vulnerable. [You must] reach the emotional and intellectual level of ability where you can go out stark naked, emotionally, in front of an audience.
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