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321 pages, Kindle Edition
First published January 1, 2012
I attached quite a few parentheticals, like (angrily), to the dialogue so that he could easily imagine what I had in mind. On the first day of the cast’s read-through, Kim Cattrall used a big black marker to strike all of these out. Someone asked what she was doing. Glaring at me, she said, “Crossing out all the places where the writer told me how to act!”
Do not indulge in archaic forms, apax legomena and other unused lexemes, nor in deep rizomatic structures which, however appealing to you as epiphanies of the grammatological differance (sic), inviting to a deconstructive tangent—but, even worse it would be if they appeared to be debatable under the scrutiny of anyone who would read them with ecdotic acridity—would go beyond the recipient’s cognitive competencies.
Some writers forget that the purpose of style is to enhance the experience for the reader, not to call attention to the cleverness of the author.
Critics are like horse-flies which hinder the horses in their plowing of the soil. The muscles of the horse are as taut as fiddle-strings, and suddenly a horse-fly alights on its croup, buzzing and stinging. The horse’s skin quivers, it waves its tail. What is the fly buzzing about? It probably doesn’t know itself. It simply has a restless nature and wants to make itself felt—“I’m alive, too, you know!” it seems to say. “Look, I know how to buzz, there’s nothing I can’t buzz about!”