In every bit of honest writing in the world… there is a base theme. Try to understand men, if you understand each other you will be kind to each other. Knowing a man well never leads to hate and nearly always leads to love.
You must not fear, hold back, count or be a miser with your thoughts and feelings. It is also true that creation comes from an overflow, so you have to learn to intake, to imbibe, to nourish yourself and not be afraid of fullness. The fullness is like a tidal wave which then carries you, sweeps you into experience and into writing. Permit yourself to flow and overflow, allow for the rise in temperature, all the expansions and intensifications. Something is always born of excess: great art was born of great terrors, great loneliness, great inhibitions, instabilities, and it always balances them. If it seems to you that I move in a world of certitudes, you, par contre, must benefit from the great privilege of youth, which is that you move in a world of mysteries. But both must be ruled by faith.
Write out the story — rapidly, fluently, and not too critically — following the second or narrative-order synopsis. Change incidents and plot whenever the developing process seems to suggest such change, never being bound by any previous design.
Words, English words, are full of echoes, of memories, of associations—naturally. They have been out and about, on people’s lips, in their houses, in the streets, in the fields, for so many centuries. And that is one of the chief difficulties in writing them today—that they are so stored with meanings, with memories, that they have contracted so many famous marriages.