Everything Means Something.

Literary Modernism Kind Of Grew Out Of A Sense That, “oh My God! I’m Telling A Story! Oh, That Can’t Be The Case, Because I’m A Clever Person. I’m A Literary Person! What Am I Going To Do To Distinguish Myself? I Know! I’ll Write Ulysses.”

On A Cold, Fretful Afternoon In Early October, 1872, A Hansom Cab Drew Up Outside The Offices Of Lockhart And Selby, Shipping Agents, In The Financial Heart Of London, And A Young Girl Got Out And Paid The Driver. She Was A Person Of Sixteen Or So--alone, And Uncommonly Pretty. She Was Slender And Pale, And Dressed In Mourning, With A Black Bonnet Under Which She Tucked Back A Straying Twist Of Blond Hair That The Wind Had Teased Loose. She Had Unusually Dark Brown Eyes For One So Fair. Her Name Was Sally Lockhart; And Within Fifteen Minutes, She Was Going To Kill A Man.

One Of The Ways In Which Writers Most Show Their Inventiveness Is In The Things They Tell Us About How They Write. Generally Speaking, I Don't Like To Make A Plan Before I've Written A Story. I Find It Kills The Story - Deadens It, Makes It Uninteresting. Unless I'm Surprised By Something In A Story, The Reader's Not Going To Be Surprised Either.

There Will Be Days When The Stuff Is Not Flowing Freely. What You Do Then Is Make It Up!

Looking At Them Now, Thought Jim, You'd Never Believe They Weren't In Love With Each Other, And Not With A Hopeless, Doomed Obsession Like Poor Isabel Meredith. This Was What Love Ought To Be Like: Playful And Passionate And Teasing, And Dangerous, Too, With Sharp Intelligence In It.