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Have a low overhead. Don’t live with anybody who doesn’t support your work…Keep a paper and pencil in your pocket at all times, especially if you’re a poet. But even if you’re a prose writer, you have to write things down when they come to you, or you lose them, and they’re gone forever. Of course, most of them are stupid, so it doesn’t matter. But in case they’re the thing that solves the problem for the story or the poem or whatever, you’d better keep a pencil and a paper in your pocket. I gave this big advice in a talk, and then about three hours later I told a student I really liked his work and asked how I could get in touch with him. He said he would give me his name and address. I looked in my pocket, and I didn’t have any pencil or paper.
If a philosopher is not a man, he is anything but a philosopher; he is above all a pedant, and a pedant is a caricature of a man. The cultivation of any branch of science—of chemistry, of physics, of geometry, of philology—may be a work of differentiated specialization, and even so only within very narrow limits and restrictions; but philosophy, like poetry, is a work of integration and synthesis, or else it is merely pseudo-philosophical erudition.
All knowledge has an ultimate object. Knowledge for the sake of knowledge is, say what you will, nothing but a dismal begging of the question. We learn something either for an immediate practical end, or in order to complete the rest of our knowledge. Even the knowledge that appears to us to be most theoretical—that is to say, of least immediate application to the non-intellectual necessities of life—answers to a necessity which is no less real because it is intellectual, to a reason of economy in thinking, to a principle of unity and continuity of consciousness…And the most tragic problem of philosophy is to reconcile intellectual necessities with the necessities of the heart and the will. For it is on this rock that every philosophy that pretends to resolve the eternal and tragic contradiction, the basis of our existence, breaks to pieces. But do all men face this contradiction openly?
Little can be hoped from a ruler, for example, who has not at some time or other been preoccupied, even if only confusedly, with the first beginning and the ultimate end of all things, and above all of man, with the “why” of his origin and the “wherefore” of his destiny.
And this supreme occupation cannot be purely rational, it must involve the heart. It is not enough to think about our destiny: it must be felt. And the would-be leader of men who affirms and proclaims that he pays no heed to the things of the spirit, is not worthy to lead them.
No artist desires to prove anything. Even things that are true can be proved. No artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style. No artist is ever morbid. The artist can express everything. Thought and language are to the artist instruments of an art. Vice and virtue are to the artist materials for an art. From the point of view of form, the type of all the arts is the art of the musician. From the point of view of feeling, the actor’s craft is the type. All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read the symbol do so at their peril. It is the spectator, and not life, that art really mirrors. Diversity of opinion about a work of art shows that the work is new, complex, and vital. When critics disagree, the artist is in accord with himself. We can forgive a man for making a useful thing as long as he does not admire it. The only excuse for making a useless thing is that one admires it intensely.
I hate a story that begins with atmosphere. Get right into the story, never mind the atmosphere.
The trouble with Bob Heinlein is that he doesn’t need to write. When I want a story from him, the first thing I have to do is think up something he would like to have, like a swimming pool. The second thing is to sell him on the idea of having it. The third thing is convince him he should write a story to get the money to pay for it, instead of building it himself.
When there’s something wrong with a story, I can tell you how to fix it. When it just doesn’t come across, there’s nothing I can say.
When I think of a story idea, I give it to six different writers. It doesn’t matter if all six of them write it. They’ll all be different stories, anyway, and I’ll publish all six of them.
I want the kind of story that could be printed in a magazine of the year two thousand A.D. as a contemporary adventure story. No gee-whiz, just take the technology for granted.