Hemingway starts writing every day at dawn and stops writing until noon. This is not satisfying. He added: "When you stop writing, you seem to be empty, and at the same time you feel full, as if you have sex with someone you like, you have finished your life, everything is fine, and you are fine, just wait for another day to do it. The difficulty lies in your end until the next day." In addition, he wrote while standing.

Murakami's self-discipline should be the best known. During the writing stage, he would get up at 4 or 5 o'clock in the morning and work for six hours. He would run or swim in the afternoon, then read, listen to music, and sleep. He would repeat every day. After he finished writing the whole thing, he would start to rewrite it over and over again. "I wrote it four to five times in total."

Pamuk was so self-disciplined that he was perverted. He refused to write at his own home. "The trivial matters and details of the family will damage imagination, kill the bad side of my bones... It will make people's yearning for other worlds (which is precisely due to imagination) gradually disappear." So he would leave home every day, go to the place where he writes, and write for more than ten hours alone.

These examples seem to be saying that great writers write so diligently and hard, and you can cheer up your confidence and keep writing, and you may be able to accomplish things. But this may be really difficult to determine. Because in addition to physical strength and order, artistic sensitivity cannot be ignored. Perhaps a more mainstream statement is called "talent".

Talent is always used to be said because it is too empty and unclear, as if it can explain many things. My understanding is more realistic, which is sensitivity and sensitivity. Only when the creator is sensitive enough can his works try to touch people.

In the final analysis, sensitive habits are gradually formed from the life of the creator themselves. This habit should be logically owned by everyone, but some people have a deep degree and some have a low degree. People with deep degree can feel pain more than just looking for the right response strategy.

Writers belong to the deeper category. Logically speaking, writers should all be more painful and their personalities are generally less sound. There is a book that proves this inference to some extent. Maugham's "Great Man and Masterpiece".

Originally, a newspaper asked Maugham to open a book list for readers, listing the ten novels he thought were the greatest. As a result, Maugham chose ten novels and by the way, he revealed all the gossips of the authors of the ten books.

For example, Dostoevsky, the most widely respected Dostoevsky. According to him, Dostoevsky "relentless in pleasing power", "indulging in gambling", "vanity and jealousy", "psychological inferiority", "like quarrels", "conceited and suspicious", "loved to brag but not magnanimous", "extremely unreliable", "narrow"...

The most incredible thing is that he mentioned that Doc once boasted to someone that he had raped a girl in a bathhouse and was brought by the little girl's governess. Later, in order to express his repentance, an old friend suggested that Doc confess the crime to the person he hated the most in the world. So Doc told Turgenev about this. As a result, Turgenev was very cold and Doc became angry. Of course, all this may not be true, because this kind of gossip that was heard and heard, I don't know how many times it was. However, the great Doc, as a person, his personality defects were obvious.

Another example is Stendhal who has "imperfection". People suspect that he is impotence or is frigid, and there are different opinions. But no matter what, Stendhal is definitely not a strong one. Maugham believes that possessing women is mainly to satisfy his vanity.

Stendhal is a stuttering and unsociable person. Most of his love affairs are unfortunate. When he was still young, in Italy, he once asked a fellow soldier to win the hearts of women and took notes seriously. In today's Internet era, it is not difficult to imagine that he would definitely read Zhihu seriously and actively understand the experiences of major masters in pages such as "How to pursue girls".

He was particularly shy. He once pursued a young count's wife, who planned according to the strategies he had accumulated. But he hesitated repeatedly during the process. One morning, he decided to launch a final offensive. He and the young count's wife were walking in the garden, and he shivered because he gave himself a limited point. If when they reached the point in front, he would have to kill himself before he confessed. The final result was of course he must have the courage to say it, but he was rejected. Based on this, I speculated that there should be many details in "Red and Black" that come from this experience.

In addition to these two great writers, Maugham also mercilessly recorded the debt-debt Balzac, Austin, neurotic Emily Bronte, Tolstoy, who was infected with syphilis, and Flaubert who couldn't love. To say more, Flaubert also had syphilis and suffered from epilepsy. Flaubert fell in love with a married woman in her twenties when he was fifteen years old. This woman was also the only woman in Flaubert's life that could truly love. "Floubert loves so long and so futile."

Maugham's gossip book always gives people a feeling that the writers are more or less morbid and lacking. In this regard, Maugham himself has an explanation, saying that "creative talent is a very normal ability in childhood and adolescence." "But if it still exists after puberty, it is a disease. It will only prosper when it damages the normal characteristics of human beings, and it can only thrive in the soil mixed with evil qualities."
Chapter completed!