Beyond a leafy arras, reflected moonlight flittered.
He rubbed his palms against denim. Where he was, was still. Somewhere else, wind whined.
The leaves winked.
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You've blotted the rich form of desire from my life and left me only some vaguely eccentric behaviors that have grown up to integrate so much pleasure into the mundane world around me. What text could I write now?
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Indeed, whoever said that the purpose of science fiction is to entertain was modeling in different words the same phenomenon the Roman poet Horace was attempting to fix when he said the purpose of art is “to delight and to instruct.”
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“But how do I create a vivid character?” Look closely at what individualizes people; explore those moments when you are vividly aware of a personality. Explore the others when you cannot fathom a given person’s actions at all.
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One of the things that an art work of that length does—Wagner’s Ring, Ray’s Pather Panchali (the whole trilogy), Syberberg’s Parsifal or Our Hitler, Musil’s Mann ohne Eigenschaften, or Proust’s Recherche—is start the audience off in a state of non-expectation.
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The young painter who has set about learning to paint “realistically” is often surprised that the eye must do the learning; the hand more or less takes care of itself.
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I was a young black man, light-skinned enough so that four out of five people who met me, of whatever race, assumed I was white.... I was a homosexual who now knew he could function heterosexually.
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With the electric pattern aflicker before him, Arnold remembered the many instances he had stood here, day and night, pondering time, fame, all the vanished chances (fewer than his books, really), death. . .
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The thing to remember about characterization—direct characterization, in which you write about a person’s psychology and the specific things which have shaped it to its particular form—is that, in most stories, a little goes a long way.
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