Craft Best Quotes

I think the best stories always end up being about the people rather than the event, which is to say character-driven.

Some stories have to be written because no one would believe the absurdity of it all.

Friends are a strange, volatile, contradictory, yet sticky phenomenon. They are made, crafted, shaped, molded, created by focused effort and intent. And yet, true friendship, once recognized, in its essence is effortless. Best friends are formed by time. Everyone is someone's friend, even when they think they are all alone. If the friendship is not working, your heart will know. It's when you start being less than perfectly honest and perfectly earnest in your dealings. And it's when the things you do together no longer feel right. However, sometimes it takes more effort to make it work after all. Stick around long enough to become someone's best friend.

As centuries of dictators have known, an illiterate crowd is the easiest to rule; since the craft of reading cannot be untaught once it has been acquired, the second-best recourse is to limit its scope.

It's best to have your tools with you. If you don't, you're apt to find something you didn't expect and get discouraged.

Story is honorable and trustworthy; plot is shifty, and best kept under house arrest.

Some of this book—perhaps too much—has been about how I learned to do it. Much of it has been about how you can do it better. The rest of it—and perhaps the best of it—is a permission slip: you can, you should, and if you're brave enough to start, you will. Writing is magic, as much the water of life as any other creative art. The water is free. So drink. Drink and be filled up.

The answers to making it, to me, are a lot more universal than anyone's race or gender, and center on having a tolerance for delayed gratification, a passion for the craft, and a willingness to fail.

I came on the old and best ways of writing through ignorance and experiment and was startled when truths leaped out of brushes like quail before gunshot.

You learn best by reading a lot and writing a lot, and the most valuable lessons of all are the ones you teach yourself.

All writing problems are psychological problems. Blocks usually stem from the fear of being judged. If you imagine the world listening, you'll never write a line. That's why privacy is so important. You should write first drafts as if they will never be shown to anyone.

The rest of it - and perhaps the best of it - is a permission slip: you can, you should, and if you're brave enough to start, you will.

believe that this way of living, this focus on the present, the daily, the tangible, this intense concentration not on the news headlines but on the flowers growing in your own garden, the children growing in your own home, this way of living has the potential to open up the heavens, to yield a glittering handful of diamonds where a second ago there was coal. This way of living and noticing and building and crafting can crack through the movie sets and soundtracks that keep us waiting for our own life stories to begin, and set us free to observe the lives we have been creating all along without ever realizing it. I don’t want to wait anymore. I choose to believe that there is nothing more sacred or profound than this day. I choose to believe that there may be a thousand big moments embedded in this day, waiting to be discovered like tiny shards of gold. The big moments are the daily, tiny moments of courage and forgiveness and hope that we grab on to and extend to one another. That’s the drama of life, swirling all around us, and generally I don’t even see it, because I’m too busy waiting to become whatever it is I think I am about to become. The big moments are in every hour, every conversation, every meal, every meeting. The Heisman Trophy winner knows this. He knows that his big moment was not when they gave him the trophy. It was the thousand times he went to practice instead of going back to bed. It was the miles run on rainy days, the healthy meals when a burger sounded like heaven. That big moment represented and rested on a foundation of moments that had come before it. I believe that if we cultivate a true attention, a deep ability to see what has been there all along, we will find worlds within us and between us, dreams and stories and memories spilling over. The nuances and shades and secrets and intimations of love and friendship and marriage an parenting are action-packed and multicolored, if you know where to look. Today is your big moment. Moments, really. The life you’ve been waiting for is happening all around you. The scene unfolding right outside your window is worth more than the most beautiful painting, and the crackers and peanut butter that you’re having for lunch on the coffee table are as profound, in their own way, as the Last Supper. This is it. This is life in all its glory, swirling and unfolding around us, disguised as pedantic, pedestrian non-events. But pull of the mask and you will find your life, waiting to be made, chosen, woven, crafted. Your life, right now, today, is exploding with energy and power and detail and dimension, better than the best movie you have ever seen. You and your family and your friends and your house and your dinner table and your garage have all the makings of a life of epic proportions, a story for the ages. Because they all are. Every life is. You have stories worth telling, memories worth remembering, dreams worth working toward, a body worth feeding, a soul worth tending, and beyond that, the God of the universe dwells within you, the true culmination of super and natural. You are more than dust and bones. You are spirit and power and image of God. And you have been given Today.

What did you do today, you’d say when you got home from work, and I’d try my best to craft an anecdote for you out of nothing.

Murphy is a writer's best friend, but you have to keep an eye on him, or he'll steal the silver.

Once in a lifetime. Even sated in the aftermath of the best orgasm of my life, a twinge of sadness touched me. Don't be stupid, Alex: it's just tonight. We both know it's just tonight.

With six weeks' worth of recuperation time, you'll also be able to see any glaring holes in the plot or character development. And listen--if you spot a few of these big holes, you are forbidden to feel depressed about them or to beat up on yourself. Screw-ups happen to the best of us.

There are many rules of good writing, but the best way to find them is to be a good reader.

For me writing has always been best when it's intimate, as sexy as skin on skin.

As a young man just beginning to publish some short fiction in the t&a magazines, I was fairly optimistic about my chances of getting published; I knew that I had some game, as the basketball players say these days, and I also felt that time was on my side; sooner or later the best-selling writers of the sixties and seventies would either die or go senile, making room for newcomers like me.

On Holy Saturday I do my best to live in that place, that wax-crayon place of trust and waiting. Of accepting what I cannot know. Of mourning what needs to be mourned. Of accepting what needs to be accepted. Of hoping for what seems impossible.

Just for the record, the way to a man's heart isn't through his stomach, but through the best fucking blow job ever. You want a man to be your bitch? Perfect your craft.

I want to suggest that to write to your best abilities, it behooves you to construct your own toolbox and then build up enough muscle so you can carry it with you. Then, instead of looking at a hard job and getting discouraged, you will perhaps seize the correct tool and get immediately to work.

The word is only a representation of the meaning; even at its best, writing almost always falls short of full meaning. Given that, why in God's name would you want to make things words by choosing a word which is only cousin to the one you really wanted to use?

If my opinion runs more than twenty pages,” she said, “I am disturbed that I couldn’t do it shorter.” The mantra in her chambers is “Get it right and keep it tight.” She disdains legal Latin, and demands extra clarity in an opinion’s opening lines, which she hopes the public will understand. “If you can say it in plain English, you should,” RBG says. Going through “innumerable drafts,” the goal is to write an opinion where no sentence should need to be read twice. “I think that law should be a literary profession,” RBG says, “and the best legal practitioners regard law as an art as well as a craft.

The most important things to remember about backstory are that (a) everyone has a history and (b) most of it isn't very interesting. Stick to the parts that are, and don't get carried away with the rest. Life stories are best received in bars, and only then an hour or so before closing time, and if you are buying.

I like to think I’ve written something worth reading when I cry the tears of the characters.

Today is your big moment. Moments, really. The life you’ve been waiting for is happening all around you. The scene unfolding right outside your window is worth more than the most beautiful painting, and the crackers and peanut butter that you’re having for lunch on the coffee table are as profound, in their own way, as the Last Supper. This is it. This is life in all its glory, swirling and unfolding around us, disguised as pedantic, pedestrian non-events. But pull of the mask and you will find your life, waiting to be made, chosen, woven, crafted. Your life, right now, today, is exploding with energy and power and detail and dimension, better than the best movie you have ever seen. You and your family and your friends and your house and your dinner table and your garage have all the makings of a life of epic proportions, a story for the ages. Because they all are. Every life is. You have stories worth telling, memories worth remembering, dreams worth working toward, a body worth feeding, a soul worth tending, and beyond that, the God of the universe dwells within you, the true culmination of super and natural. You are more than dust and bones. You are spirit and power and image of God. And you have been given Today.

I distrust plot for two reasons: first, because our lives are largely plotless, even when you add in all our reasonable precautions and careful planning; and second, because I believe plotting and the spontaneity of real creation aren’t compatible. It’s best that I be as clear about this as I can—I want you to understand that my basic belief about the making of stories is that they pretty much make themselves. The job of the writer is to give them a place to grow (and to transcribe them, of course). If you can see things this way (or at least try to), we can work together comfortably. If, on the other hand, you decide I’m crazy, that’s fine. You won’t be the first.

Not long ago, I learned that if I let other people tell me how God was supposed to work in my life I would be dead. If I would have given into someone else’s version of God then I would have done nothing to improve my situation. The notion that “if it was meant to be, it will be”, is a pacifying, yet harmful quote, that many spiritualists use to soften the blow of anger. God is not passive. He is relentless, and he will build you through fire. He will put in your heart a need for answers. The intensity of what bothers your soul is often his voice trying to take you from the limited vision of mankind to the full view of the best life he would like to offer you. He is above any pastor, any bishop, any prophet, any church, any cleverly crafted sermon or multi-meaning verse. He is the master of his craft and the author of your forever. Inner peace is only found through action. Fear may darken the trail, but the light of peace stands at the end of such a journey ----waiting with truth.

We best teach what we ourselves have learned.

My funny old brain, like those of many poets, has always done its best work sideways, seeking out tricky enjambments and surprising slant rhymes to craft lines capable of pulling their own weight.

Writing isn't about making money, getting famous, getting laid, or making friends. In the end, it’s about enriching the lives of those who will read your work, and enriching your own life, as well. It’s about getting up, getting well and getting over. Getting happy, okay? Getting happy. Some of this book – perhaps too much – has been about how I learned to do it. Much of it has been about how you can do it better. The rest of it – and perhaps the best of it – is a permission slip: you can, you should, and if you’re brave enough start, you will.

Propaganda is a weapon that the Confederacy wields best, and wields heaviest. It is their hammer. And when all you have is a hammer, then everything looks like a nail.

Law should be a literary profession,' RGB says, 'and the best legal practioners regard law as an art as well as a craft.

Loving is like any other art-craft where the masters have carefully practiced and where the novices have languished in their carelessness.

Must you write complete sentences each time, every time? Perish the thought. If your work consists only of fragments and floating clauses, the Grammar Police aren’t going to come and take you away. Even William Strunk, that Mussolini of rhetoric, recognized the delicious pliability of language. “It is an old observation,” he writes, “that the best writers sometimes disregard the rules of rhetoric.” Yet he goes on to add this thought, which I urge you to consider: “Unless he is certain of doing well, [the writer] will probably do best to follow the rules.

The only perfection available to you without compromise is that of intention and effort. If you endeavor to be the best pencil sharpener you can be, and tailor your actions accordingly, you can be certain all else will be forgiven in the final accounting.

An embroidery circle takes up a spot in the middle of the counter. I rush toward it and pick it up. My heart rate speeds up in my chest as I check out the most beautiful design I’ve ever seen. There’s no mistaking who made this. Santiago crafted a field of wildflowers, making up every color of the rainbow. It’s hands-down the best gift anyone has given me. A wobbly looking quote takes up the top of the design. Where most people see weeds, I only see you—my beautiful wildflower, untamed and free.

Though you will save many hours by seizing control of your calendar, and clearing away non-core-competency activities, in the long run, the best way to create more time is to actually get better at your professional craft.

The idea of safety had shrunk into particles - one snug moment, then the next. Meanwhile, the brain piped fugues of worry and staged mind-theaters full of tragedies and triumphs, because unfortunately, the fear of death does wonders to focus the mind, inspire creativity, and heightens the senses. Trusting one's hunches only seems gamble if one has time for seem; otherwise the brain goes on autopilot and trades the elite craft of analysis for the best rapid insights that float up from its danger files and ancient bag of tricks.

Many amateurs believe that plants and animals reproduce on a one-way route toward perfection. Translating the idea in social terms, they believe that companies and organizations are, thanks to competition (and the discipline of the quarterly report), irreversibly heading toward betterment. The strongest will survive; the weakest will become extinct. As to investors and traders, they believe that by letting them compete, the best will prosper and the worst will go learn a new craft (like pumping gas or, sometimes, dentistry). Things are not as simple as that. We will ignore the basic misuse of Darwinian ideas in the fact that organizations do not reproduce like living members of nature—Darwinian ideas are about reproductive fitness, not about survival.

It's odd how we prioritize the things the things that matter to us. We choose a career or job; we choose a city or place to live. We make so many things important to us, but in all the things we factor in as we craft our futures, we make the people in our lives a commodity of, at best, secondary importance. We would take a job and give up our people rather than choose a tribe and give up the job.

If you want to master the art of the sentence, you must first accept a somewhat unpleasant truth--something a lot of writers would rather deny: The Reader is king. You are his servant. You serve the Reader information. You serve the Reader entertainment. You serve the Reader details of your company's recent merger or details of your experiences in drug rehab. In each case, as a writer you're working for the man (or the woman). Only by knowing your place can you do your job well.

A reporter once asked me why I think progressive men who earn significantly less than their breadwinning wives still won't quit their jobs to take care of their children. Why do they still hold on to their careers, even if taking care of the children would make more financial sense because the cost of childcare is higher than their net salary? I think I know the answer to that now, and it sucks. Women are not expected to live a life for themselves. When women dedicate their lives to children, it is deemed a worthy and respectable choice. When women dedicate themselves to a passion outside of the family that doesn't involve worshiping their husbands or taking care of their kids, they're seen as selfish, cold, or unfit mothers. But when a man spends hours grueling over a craft, profession, or project, he's admired and seen as a genius. And when a man finds a woman who worships him, who dedicates her life to serving him, he's lucky. But when a man dedicates himself to taking care of his children it's seen as a last resort. That it must be because he ran out of other options. That it's plan Z. That it's an indicator of his inability to provide for his family. Basically, that he's a fucking loser. I think it's one of the most important falsehoods we need to shatter when talking about women's rights.

Having spent all of my decision-making years as a Pagan of one stripe or another, I have long found it condescending at best to assume one cannot worship the old gods or believe in magick without breaking out the leather bracers, wings, or Ye Broken Olde English.

I wrote every day throughout my twenties. For a while, I had a boyfriend who was a musician, and he practiced every day. He played scales; I wrote small fictional scenes. It was the same idea - to keep your hand in your craft, to stay close to it. On bad days, when I felt no inspiration at all, I would set the kitchen timer for thirty minutes and make myself sit there and scribble something, anything. I had read an interview with John Updike where he said that some of the best novels you've ever read were written in an hour a day; I figured I could always carve out at least thirty minutes somewhere to dedicate myself to my work, no matter what else was going on or how badly I believed the work was going.

The best writers I've read possess oodles of self-doubt, yet claw their way up with each work and remain humble. Boastful ones, not so much.

The word is only a representation of the meaning, even at its best, writing almost always falls short of full meaning.

Most magick I have experienced can be written off as a stew of psychology and coincidence, and I truly believe this is where magick is best worked.

She asserted that the best fictional detail was a chosen detail, not a remembered one - for fictional truth was not only the truth of observation, which was the truth of mere journalism. The best fictional detail was the detail that should have defined the character or the episode or the atmosphere. Fictional truth was what should have happened in a story - not necessarily what did happen or what had happened.

The most important things to remember about back story are that (a) everyone has a history and (b) most of it isn’t very interesting. Stick to the parts that are, and don’t get carried away with the rest. Long life stories are best received in bars, and only then an hour or so before closing time, and if you are buying.

Lately, because computer technology has made self-publishing an easier and less expensive venture, I'm getting a lot of review copies of amateur books by writers who would be better advised to hone their craft before committing it to print. The best thing you can do as a beginning writer is to write, write, write - and read, read, read. Concentrating on publication prematurely is a mistake. You don't pick up a violin and expect to play Carnegie Hall within the year - yet somehow people forget that writing also requires technical skills that need to be learned, practiced, honed. If I had a dollar for every person I've met who thought, with no prior experience, they could sit down and write a novel and instantly win awards and make their living as a writer, I'd be a rich woman today. It's unrealistic, and it's also mildly insulting to professional writers who have worked hard to perfect their craft. Of course, then you hear stories about people like J.K. Rowling, who did sit down with no prior experience and write a worldwide best-seller...but such people are as rare as hen's teeth. Every day I work with talented, accomplished writers who have many novels in print and awards to their name and who are ‘still’ struggling to make a living. The thing I often find myself wanting to say to new writers is: Write because you love writing, learn your craft, be patient, and be realistic. Anais Nin said about writing, "It should be a necessity, as the sea needs to heave, and I call it breathing."

I decided that my mind, body, and spirit had worked together to craft the best they could with limited resources, and to see myself as a helpless victim of chronic “mental illness” was merely adding insult to injury.

I had a pupil who turned in a couple of well-crafted essays on Descartes, subjecting "cogito ergo sum" to effective and damaging criticism...This was the sort of thing the best students did, and it was thought to be Oxford intellectual training at its most sophistocated. But I said to him, "If all the criticisms you've made of Descartes are valid-- and on the whole I think they are-- why are we spending our time here now discussing him? Why have you just devoted a fortnight of your life to reading his main works and writing two essays about them? ...More to the point: if all these things are wrong with his ideas--and I think they are-- why is his name known to every educated person in the Western world today, three and a half centuries after his death? ...[text].. The pupil saw my point straight away but was at a loss to answer...[text].. Along such lines as these I made it a conscious principle of my teaching, whatever the subject, to get the pupil first of all to do the necessary learning, and the detailed work of analysis and criticism, and then to raise "Yes, but what is the point of all this-- why are we doing it?" questions. And students almost invariably found that it was only when that stage was reached that the really exciting interest and importantance of what it was they were doing opened up before their eyes.

Women are not expected to live a life for themselves. When women dedicate their lives to children, it is deemed a worthy and respectable choice. When women dedicate themselves to a passion outside of the family that doesn’t involve worshipping their husbands or taking care of their kids, they’re seen as selfish, cold, or unfit mothers. But when a man spends hours grueling over a craft, profession, or project, he’s admired and seen as a genius. And when a man finds a woman who worships him, who dedicates her life to serving him, he’s lucky. But when a man dedicates himself to taking care of his children it’s seen as a last resort. That it must be because he ran out of other options. That it’s plan Z. That it’s an indicator of his inability to provide for his family. Basically, that he’s a fucking loser.

But let’s all realize we are in the same boat dealing with the same shit. So if you aren’t into someone, before just ignoring them, try to be mindful of how frustrating it is to be on the other side of that and maybe try crafting them an honest message or, at the least, lie and say: “Hey, sorry, working on my debut rap album, Fantabulous, so gonna be in the studio nonstop and need to focus, not dating at the moment. I’m very flattered though and you are a great person, all the best.”  •

It’s also important to remember that no one is “the bad guy” or “the best friend” or “the whore with a heart of gold” in real life; in real life we each of us regard ourselves as the main character, the protagonist, the big cheese; the camera is on us, baby.

A man who makes a plate or a shirt or a loaf of bread or anything our great great ancestors called a work of art, has no need to try to be sincere; all he can do is practice his craft to the best of his ability. But once he starts making useless things, how can he not be sincere?

intellectual understanding is one of the best versions of the Golden Rule: Listen to others as you would have others listen to you. Precise demonstration of truth is important but not as important as the communal pursuit of it. Put in terms of Kant's categorical imperative, When addressing someone else's ideas, your obligation is to treat them as you believe all human beings ought to treat one another's ideas." WAYNE C. BOOTH,

Allen Ginsberg instructs: "First thought, best thought." Oh, to have my every spontaneous thought count as poetry! No draft after draft like a draft horse. Clayton Eshleman, laughing, said, "'First thought best thought' is not 'First word best word ' Ginsberg does rewrite. I'm sure he does.

Some books are like chewing gum. They have just enough flavour to sate you for an hour or so. Others are like gourmet meals. Meticulously crafted with complex flavours that - while exciting during consumption - leave only a vague memory behind. The best books are like old recipes, passed down through generations. They stick with you long after the last bite. You want to return to them again and again, because they become a part of who you are. I want to write those.

But let’s all realize we are in the same boat dealing with the same shit. So if you aren’t into someone, before just ignoring them, try to be mindful of how frustrating it is to be on the other side of that and maybe try crafting them an honest message or, at the least, lie and say: “Hey, sorry, working on my debut rap album, Fantabulous, so gonna be in the studio nonstop and need to focus, not dating at the moment. I’m very flattered though and you are a great person, all the best.

People who have nothing to prove offer practical baby gifts: sturdy cotton rompers made to withstand the cycle of vomit and regular washing. People who are competing for the titles of best-loved aunts and uncles - people like my sisters and me - send satin pants and delicate hand-crafted sweaters accompanied by notes reading "P.S. The fur collar is detachable.

Before I’ll take my clone on as a pupil in the craft of writing, he must prove his worthiness. He must write 100 thoughts down, of which 10 might be interesting. If he’s done that, good, then he must write 1,000 thoughts, of which 200 might be interesting. If he’s done that, good, then he must write 10,000 thoughts down, of which 4,000 might be interesting. If he’s done that, good, then he no longer needs me to teach him, because he has taught himself. And since he would be teaching himself, it would prove that I really am the best teacher.

You are the best lover,” she said thoughtfully, “I ever saw. You're stronger than others, more supple, more willing. You've learned my art well, Siddhartha. At some time, when I'll be older, I'd want to bear your child. And yet, my dear, you've remained a Samana, and yet you do not love me, you love nobody. Isn't it so?” “It might very well be so,” Siddhartha said tiredly. “I am like you. You also do not love — how else could you practise love as a craft? Perhaps, people of our kind can't love. The childlike people can; that's their secret.

The trouble is, we have up-close access to women who excel in each individual sphere. With social media and its carefully selected messaging, we see career women killing it, craft moms slaying it, chef moms nailing it, Christian leaders working it. We register their beautiful yards, homemade green chile enchiladas, themed birthday parties, eight-week Bible study series, chore charts, ab routines, “10 Tips for a Happy Marriage,” career best practices, volunteer work, and Family Fun Night ideas. We make note of their achievements, cataloging their successes and observing their talents. Then we combine the best of everything we see, every woman we admire in every genre, and conclude: I should be all of that. It is certifiably insane.

If Readers have prejudices, that's the writing world we live in. We must decide how to navigate it. We can't please all the Readers all the time and we shouldn't try. but we don't get to create our Readers in our own image, either. We don't get to tell them what to value or enjoy. We can write in a way true to our own voice and our own ideas of beauty and substance, and we can hope that some readers appreciate it. But, even when we aim to serve the narrowest cross section of Readers, we're still working for the Readers we have. We should be grateful that we have them.

There is more to life than work, and a life without ample space for family and friends is incomplete. But this much should not be controversial: Vocation—one’s calling in life—plays a large role in defining the meaning of that life. For some, the nurturing of children is the vocation. For some, an avocation or a cause can become an all-absorbing source of satisfaction, with the job a means of paying the bills and nothing more. But for many others, vocation takes the form of the work one does for a living. Working hard, seeking to get ahead, and striving to excel at one’s craft are not only quintessential features of traditional American culture but also some of its best features. Industriousness is a resource for living a fulfilling human life instead of a life that is merely entertaining.

Brevity Is Best: Nicknamed "Silent Cal," President Calvin Coolidge was once challenged by a reporter, saying, "I bet someone that I could get more than two words out of you." Coolidge responded, "You lose." The notion of crafting six word memoirs really took off after Smith Magazine shared this poignant one written by Ernest Hemingway: "For Sale: baby shoes, never worn." Pithiness Pays Off For Other Reasons: When required to be brief, for example, we gain clarity about what we really mean -- or have to offer. As Mark Twain once wrote, in a slower-paced time, "I didn't have time to write a short letter, so I wrote a long one instead.

Novels were not arguments; a story worked, or it didn't, on its own merits. What did it matter if a detail was real or imagined? What mattered was that the detail seemed real, and that it was absolutely the best detail for the circumstance. That wasn't much of a theory, but it was all Ruth could truly commit herself to at the moment. It was time to retire that old lecture, and her penance was to endure the compliments of her former credo.

I can't understand people being rude to their spouses. Your husband or wife should be the one person in the world you treat with loving patience. He or she chose you above all others-for a lifetime! And yet I see women who are nicer to their girlfriends, and men who are more thoughtful toward their employees. That's meshuganeh. Friends come and go. Employees move on. Your partner is there for the long haul. He deserves your best every day of your life.

Katherine gave in to the wonder of the moment, imagining herself in the astronauts' place. What emotions welled up from the depths of their hearts as they regarded their watery blue home from the void of space? How did it feel to be separated by a nearly unimaginable gulf from the rest of humanity yet carry the hopes, dreams, and fears of their entire species there with them in their tiny, vulnerable craft? Most people she knew wouldn't have traded places with the astronauts for all of the gold in Fort Knox. The men existed all alone out their in the void of space, connected so tenuously to Earth, with the real possibility that something could go wrong. But given the chance to throw her lot in with the astronauts, Katherine Johnson would have packed her bags immediately. Even without the pressure of the space race, even without the mandate to beat the enemy. For Katherine Johnson, curiosity always bested fear.

Our baby gives herself to me completely. There is no hesitation, no reservation, no holding back, no coldness, no craft, no tremor or fear in her love. Although our relationship may encompass tears, frustration, even fury, it is an utterly reliable bond. As it grows, her love is literally unadulterated. Her love is wholly of the child, pure in its essence as children are in their direct passions. Children do not love wisely, but perhaps they love the best of all.

You want to fix yourself, change yourself, become someone better. But what about who you already are? You want to craft a mask to wear—something to cover your face. But you already have a face. You are already something. Your task, as a human being, is not self-augmentation, but self-discovery. Look at yourself with curiosity. Let yourself explore your interests. Delve into your talents. Face your fears. Accept your faults, and give yourself unconditional love. By learning to explore yourself, you will naturally become the best version of yourself. Of course, you invent your life, but you do not invent your passions. Some things, you must create, and others you must discover. Learn to be curious about yourself. Then, you will be on the right path.

When a plot resolves, readers are satisfied, but what they remember of a novel is what they felt while reading it. Hooks may hook, twists may intrigue, tension may turn pages, and prose may dazzle, but all of those effects fade as quickly as fireworks in a night sky. Ask readers what they best remember about novels and most will say the characters, but is that accurate? It’s true that characters become real to us but that is because of what they cause us to feel. Characters aren’t actually real; only our own feelings are. Emotional

The consensus seems to be this: we should be deeply Christian artists. But that doesn't mean we should be something called Christian artists or that whatever we produce should be called Christian art. We should simply focus on our craft, on making the best art we can. We should understand that people will and should resonate with our work not because it is Christian but because it is good. Above all, Christians should make good art, true art; art unafraid of exploring mystery, portraying evil, and looking for truth wherever it appears.

The sniper is like a highly skilled surgeon, practicing his craft on the battlefield. Make no mistake: War is about killing other human beings, taking out the enemy before he takes us out, stopping the spread of further aggression by stopping those who would perpetuate that aggression. However, if the goal is to prosecute the war in order to achieve the peace, and to do so as fast and as effectively as possible, and with the least collateral damage, then warriors like Chris Kyle and our other brothers-in-arms are heroes in the best sense.

You would be amazed how rare it is for artists to feel moments of true satisfaction. When they’re inside their craft, inside colour or movement or sound, words or clay or pictures or dance, when they submit to the art, that is when they know two things—the void that is life and the pull that is death. The grand and the hollow. The best reflects that. To be such harbingers of truth is not without its cost. It’s no easy task to balance a sense of irrelevance with the longing for glory, the abyss with the applause. Artists run their fingers over the fabric of eternity.

She’d learned to use that darkness, learned how to fold herself into shadow until she was a slither of the night itself, learned how to grow claws and steal prince’s hearts. She’d learned to bide her time and wait for the best moment to strike. Really, Black Jaga could hardly claim to be shocked by Zosia’s actions. She was the one who had shaped Zosia into what she was, the one who had raised her. Wasn’t she the monster the old witch had wished for? The monster she’d crafted in her own image. You made me, Grandmother. Am I not everything you wanted me to be? The witch had only herself to blame.

The feasting people were Wood-elves, of course. These are not wicked folk. If they have a fault it is distrust of strangers. Though their magic was strong, even in those days they were wary. They differed from the High Elves of the West, and were more dangerous and less wise. For most of them (together with their scattered relations in the hills and mountains) were descended from the ancient tribes that never went to Faerie in the West. There the Light-elves and the Deep-elves and the Sea-elves went and lived for ages, and grew fairer and wiser and more learned, and invented their magic and their cunning craft in the making of beautiful and marvellous things, before some came back into the Wide World. In the Wide World the Wood-elves lingered in the twilight of our Sun and Moon, but loved best the stars; and they wandered in the great forests that grew tall in lands that are now lost. They dwelt most often by the edges of the woods, from which they could escape at times to hunt, or to ride and run over the open lands by moonlight or starlight; and after the coming of Men they took ever more and more to the gloaming and the dusk. Still elves they were and remain, and that is Good People.

Write what is important to you, regardless of fashion or marketability or anything like that – all those things are so far out of your control that you may as well not think about them. Of course, this may mean you’ll never be published but that’s a risk we all take every single time we set hands to keyboard or pen to paper. For me, if I can sit back at the end of a project and say, ‘yes, I stayed honest, I said what I wanted to say, and I made it sing to the best of my ability’, then I’m happy enough. Of course, if anyone wants to buy the damned thing off me when I’m done, that’s jam I won’t refuse.

He never looks at comics these days, even though they’ve become fashionable to the point where adults are allowed to read them without fear of ridicule. Ironically, in David’s view, this makes them a lot more ridiculous than when they were intended as a perfectly legitimate and often beautifully crafted means of entertaining kids. At age thirteen, David’s idea of heaven was somewhere that comics were acclaimed and readily available, perhaps with dozens of big budget movies featuring his favourite obscure costumed characters. Now that he’s in his fifties and his paradise is all around him he finds it depressing. Concepts and ideas meant for the children of some forty years ago: is that the best that the twenty-first century has got to offer? When all this extraordinary stuff is happening everywhere, are Stan Lee’s post-war fantasies of white neurotic middle-class American empowerment really the most adequate response?

The courtesan bent over him, took a long look at his face, at his eyes, which had grown tired. “You are the best lover,” she said thoughtfully, “I ever saw. You’re stronger than others, more supple, more willing. You’ve learned my art well, Siddhartha. At some time, when I’ll be older, I’d want to bear your child. And yet, my dear, you’ve remained a Samana, and yet you do not love me, you love nobody. Isn’t it so?” “It might very well be so,” Siddhartha said tiredly. “I am like you. You also do not love—how else could you practise love as a craft? Perhaps people of our kind can’t love. The childlike people can; that’s their secret.

The care of babies involves education, and is entrusted only to the most fit,” she repeated. “Then you separate mother and child!” I cried in cold horror, something of Terry’s feeling creeping over me, that there must be something wrong among these many virtues. “Not usually,” she patiently explained. “You see, almost every woman values her maternity above everything else. Each girl holds it close and dear, an exquisite joy, a crowning honor, the most intimate, most personal, most precious thing. That is, the child-rearing has come to be with us a culture so profoundly studied, practiced with such subtlety and skill, that the more we love our children the less we are willing to trust that process to unskilled hands—even our own.” “But a mother’s love—” I ventured. She studied my face, trying to work out a means of clear explanation. “You told us about your dentists,” she said, at length, “those quaintly specialized persons who spend their lives filling little holes in other persons’ teeth—even in children’s teeth sometimes.” “Yes?” I said, not getting her drift. “Does mother-love urge mothers—with you—to fill their own children’s teeth? Or to wish to?” “Why no—of course not,” I protested. “But that is a highly specialized craft. Surely the care of babies is open to any woman—any mother!” “We do not think so,” she gently replied. “Those of us who are the most highly competent fulfill that office; and a majority of our girls eagerly try for it—I assure you we have the very best.” “But the poor mother—bereaved of her baby—” “Oh no!” she earnestly assured me. “Not in the least bereaved. It is her baby still—it is with her—she has not lost it. But she is not the only one to care for it. There are others whom she knows to be wiser. She knows it because she has studied as they did, practiced as they did, and honors their real superiority. For the child’s sake, she is glad to have for it this highest care.

Can writing ever be taught? The best answer to that was given obliquely by the rock musician David Lee Roth. When asked if money could buy happiness he said, no, but with money you could buy the big boat and go right up to where the people were happy. With a teacher you can go right up to where the writing is done; the leap is made alone with vision, subject, passion, and instinct. So a writer comes to the page with vision in her heart and craft in her hands and a sense of what a story might be in her head. How do the three come together? My thesis is the old one: they merge in the physical writing—inside the act of writing, not from the outside. The process is the teacher.

Sometimes when one cannot stand the story or novel one is working on, it helps to write something else—a different story or novel, or essays venting one's favorite peeves, or exercises aimed at passing the time and incidentally polishing up one's craft. The best way in the world for breaking a writer's block is to write a lot. Jabbering away on paper, one gets tricked into feeling interested, all at once, in something one is saying, and behold, the magic waters are flowing again. Often it helps to work on a journal, since that allows the writer to write about those things that most interest him, yet frees him of the pressure of achievement and encourages him to develop a more natural, more personal style.

Walking the deck with quick, side-lunging strides, Ahab commanded the t'gallant sails and royals to be set, and every stunsail spread. The best man in the ship must take the helm. Then, with every mast-head manned, the piled-up craft rolled down before the wind. The strange, upheaving, lifting tendency of the taffrail breeze filling the hollows of so many sails, made the buoyant, hovering deck to feel like air beneath the feet; while still she rushed along, as if two antagonistic influences were struggling in her—one to mount direct to heaven, the other to drive yawingly to some horizontal goal. And had you watched Ahab's face that night, you would have thought that in him also two different things were warring.

Panic Is Good Creative panic is good. Here’s why: Our greatest fear is fear of success. When we are succeeding—that is, when we have begun to overcome our self-doubt and self-sabotage, when we are advancing in our craft and evolving to a higher level—that’s when panic strikes. It did for me when my book crashed, and it was the best thing that happened to me all year. When we experience panic, it means that we’re about to cross a threshold. We’re poised on the doorstep of a higher plane. Have you ever watched a small child take a few bold steps away from its mother? The little boy or girl shows great courage. She ventures forth, feels exhilaration, and then … she realizes what she has done. She freaks. She bolts back to Mommy. That’s you and me when we’re growing.

I will conclude this work with stating in what light religion appears to me. If we suppose a large family of children, who, on any particular day, or particular circumstance, made it a custom to present to their parents some token of their affection and gratitude, each of them would make a different offering, and most probably in a different manner. Some would pay their congratulations in themes of verse and prose, by some little devices, as their genius dictated, or according to what they thought would please; and, perhaps, the least of all, not able to do any of those things, would ramble into the garden, or the field, and gather what it thought the prettiest flower it could find, though, perhaps, it might be but a simple weed. The parent would be more gratified by such a variety, than if the whole of them had acted on a concerted plan, and each had made exactly the same offering. This would have the cold appearance of contrivance, or the harsh one of control. But of all unwelcome things, nothing could more afflict the parent than to know, that the whole of them had afterwards gotten together by the ears, boys and girls, fighting, scratching, reviling, and abusing each other about which was the best or the worst present. Why may we not suppose, that the great Father of all is pleased with variety of devotion; and that the greatest offence we can act, is that by which we seek to torment and render each other miserable? For my own part, I am fully satisfied that what I am now doing, with an endeavour to conciliate mankind, to render their condition happy, to unite nations that have hitherto been enemies, and to extirpate the horrid practice of war, and break the chains of slavery and oppression is acceptable in his sight, and being the best service I can perform, I act it cheerfully. I do not believe that any two men, on what are called doctrinal points, think alike who think at all. It is only those who have not thought that appear to agree… As to what are called national religions, we may, with as much propriety, talk of national Gods. It is either political craft or the remains of the Pagan system, when every nation had its separate and particular deity…

Alongside the development of theatres came the growth of an acting culture; in essence it was the birth of the acting profession. Plays had generally been performed by amateurs - often men from craft guilds. Towards the end of the sixteenth century there developed companies of actors usually under the patronage of a powerful or wealthy individual. These companies offered some protection against the threat of Puritan intervention, censorship, or closure on account of the plague. They encouraged playwrights to write drama which relied on ensemble playing rather than the more static set pieces associated with the classical tradition. They employed boys to play the parts of women and contributed to the development of individual performers. Audiences began to attend the theatre to see favourite actors, such as Richard Burbage or Will Kempe, as much as to see a particular play. Although the companies brought some stability and professionalism to the business of acting - for instance, Shakespeare's company, the Lord Chamberlain's, subsequently the King's, Men, continued until the theatres closed (1642) - they offered little security for the playwright. Shakespeare was in this respect, as in others, the exception to the rule that even the best-known and most successful dramatists of the period often remained financially insecure.

Asking a writer why they like to write {in the theoretical sense of the question} is like asking a person why they breathe. For me, writing is a natural reflex to the beauty, the events, and the people I see around me. As Anais Nin put it, "We write to taste life twice." I live and then I write. The one transfers to the other, for me, in a gentle, necessary way. As prosaic as it sounds, I believe I process by writing. Part of the way I deal with stressful situations, catty people, or great joy or great trials in my own life is by conjuring it onto paper in some way; a journal entry, a blog post, my writing notebook, or my latest story. While I am a fair conversationalist, my real forte is expressing myself in words on paper. If I leave it all chasing round my head like rabbits in a warren, I'm apt to become a bug-bear to live with and my family would not thank me. Some people need counselors. Some people need long, drawn-out phone-calls with a trusted friend. Some people need to go out for a run. I need to get away to a quiet, lonesome corner--preferably on the front steps at gloaming with the North Star trembling against the darkening blue. I need to set my pen fiercely against the page {for at such moments I must be writing--not typing.} and I need to convert the stress or excitement or happiness into something to be shared with another person. The beauty of the relationship between reading and writing is its give-and-take dynamic. For years I gathered and read every book in the near vicinity and absorbed tale upon tale, story upon story, adventures and sagas and dramas and classics. I fed my fancy, my tastes, and my ideas upon good books and thus those aspects of myself grew up to be none too shabby. When I began to employ my fancy, tastes, and ideas in writing my own books, the dawning of a strange and wonderful idea tinged the horizon of thought with blush-rose colors: If I persisted and worked hard and poured myself into the craft, I could create one of those books. One of the heart-books that foster a love of reading and even writing in another person somewhere. I could have a hand in forming another person's mind. A great responsibility and a great privilege that, and one I would love to be a party to. Books can change a person. I am a firm believer in that. I cannot tell you how many sentiments or noble ideas or parts of my own personality are woven from threads of things I've read over the years. I hoard quotations and shadows of quotations and general impressions of books like a tzar of Russia hoards his icy treasures. They make up a large part of who I am. I think it's worth saying again: books can change a person. For better or for worse. As a writer it's my two-edged gift to be able to slay or heal where I will. It's my responsibility to wield that weapon aright and do only good with my words. Or only purposeful cutting. I am not set against the surgeon's method of butchery--the nicking of a person's spirit, the rubbing in of a salty, stinging salve, and the ultimate healing-over of that wound that makes for a healthier person in the end. It's the bitter herbs that heal the best, so now and again you might be called upon to write something with more cayenne than honey about it. But the end must be good. We cannot let the Light fade from our words.

We long ago ceased expecting that a President speak his own words. We no longer expect him actually to know the answers to questions put to him. We have, in effect, come to elect newscasters-and by a similar process: not for their probity or for their intelligence, but for their "believability." "Hope" is a very different exhortation than, for example, save, work, cooperate, sacrifice, think. It means: "Hope for the best, in a process over which you have no control." For, if one had control, if one could endorse a candidate with actual, rational programs, such a candidate demonstrably possessed of character and ability sufficient to offer reasonable chance of carrying these programs out, we might require patience or understanding, but why would we need hope? We have seen the triumph of advertising's bluntest and most ancient tool, the unquantifiable assertion: "New" in what way? "Improved" how? "Better" than what? "Change" what in particular? "Hope" for what? These words, seemingly of broad but actually of no particular meaning, are comforting in a way similar to the self-crafted wedding ceremony. Whether or not a spouse is "respecting the other's space," is a matter of debate; whether or not he is being unfaithful is a matter of discernible fact. The author of his own marriage vows is like the supporter of the subjective assertion. He is voting for codependence. He neither makes nor requires an actual commitment. He'd simply like to "hope.

What we feel and how we feel is far more important than what we think and how we think. Feeling is the stuff of which our consciousness is made, the atmosphere in which all our thinking and all our conduct is bathed. All the motives which govern and drive our lives are emotional. Love and hate, anger and fear, curiosity and joy are the springs of all that is most noble and most detestable in the history of men and nations. The opening sentence of a sermon is an opportunity. A good introduction arrests me. It handcuffs me and drags me before the sermon, where I stand and hear a Word that makes me both tremble and rejoice. The best sermon introductions also engage the listener immediately. It’s a rare sermon, however, that suffers because of a good introduction. Mysteries beg for answers. People’s natural curiosity will entice them to stay tuned until the puzzle is solved. Any sentence that points out incongruity, contradiction, paradox, or irony will do. Talk about what people care about. Begin writing an introduction by asking, “Will my listeners care about this?” (Not, “Why should they care about this?”) Stepping into the pulpit calmly and scanning the congregation to the count of five can have a remarkable effect on preacher and congregation alike. It is as if you are saying, “I’m about to preach the Word of God. I want all of you settled. I’m not going to begin, in fact, until I have your complete attention.” No sermon is ready for preaching, not ready for writing out, until we can express its theme in a short, pregnant sentence as clear as crystal. The getting of that sentence is the hardest, most exacting, and most fruitful labor of study. We tend to use generalities for compelling reasons. Specifics often take research and extra thought, precious commodities to a pastor. Generalities are safe. We can’t help but use generalities when we can’t remember details of a story or when we want anonymity for someone. Still, the more specific their language, the better speakers communicate. I used to balk at spending a large amount of time on a story, because I wanted to get to the point. Now I realize the story gets the point across better than my declarative statements. Omit needless words. Vigorous writing is concise. A sentence should contain no unnecessary words, a paragraph no unnecessary sentences, for the same reason that a drawing should have no unnecessary lines and a machine no unnecessary parts. This requires not that the writer make all his sentences short, or that he avoid all detail and treat his subjects only in outline, but that every word tell. Limits—that is, form—challenge the mind, forcing creativity. Needless words weaken our offense. Listening to some speakers, you have to sift hundreds of gallons of water to get one speck of gold. If the sermon is so complicated that it needs a summary, its problems run deeper than the conclusion. The last sentence of a sermon already has authority; when the last sentence is Scripture, this is even more true. No matter what our tone or approach, we are wise to craft the conclusion carefully. In fact, given the crisis and opportunity that the conclusion presents—remember, it will likely be people’s lasting memory of the message—it’s probably a good practice to write out the conclusion, regardless of how much of the rest of the sermon is written. It is you who preaches Christ. And you will preach Christ a little differently than any other preacher. Not to do so is to deny your God-given uniqueness. Aim for clarity first. Beauty and eloquence should be added to make things even more clear, not more impressive. I’ll have not praise nor time for those who suppose that writing comes by some divine gift, some madness, some overflow of feeling. I’m especially grim on Christians who enter the field blithely unprepared and literarily innocent of any hard work—as though the substance of their message forgives the failure of its form.

In America, where writers are preoccupied with the craft of writing, I always try to introduce this concept of the badly written good story. Turning the hierarchy around and putting passion on top and not craft, because when you just focus on craft, you can write something that is very sterile. It looks beautiful, but soulless. So I warn them that, often in writing programs, articulation and clarity are more important than what you actually say . . . And you say, “It’s so well-written, but who gives a fuck?” For certain, the guy who wrote it doesn’t give a fuck. It’s not something that has to do with his life; it’s just something well-written and illuminating, and writing is not about that. The best stories you usually hear are stories that people feel some type of urgency about . . . Nobody else in the world would look at writing as craftsmanship—it’s totally this Protestant hardworking ethic. You go into this kind of infinite space of imagination and you fence yourself in with all kinds of laws. Why do we have to keep playing this strange game?

For all their shared boundaries, the experiences of fiction and nonfiction are fundamentally different. In the traditional short story or novel, a fictive space is opened up that allows you the reader to disappear into the action, even to the point of forgetting you are reading. In the best nonfiction, it seems to me, you’re always made aware that you are being engaged with a supple mind at work. The story line or plot in nonfiction consists of the twists and turns of a thought process working itself out. This is certainly true for the essay, but it is also true, I think, for classic nonfiction in general, be it Thucydides or Pascal or Carlyle, which follows an organizing principle that can be summarized as “tracking the consciousness of the author.” What makes me want to keep reading a nonfiction text is the encounter with a surprising, well-stocked mind as it takes on the challenge of the next sentence, paragraph, and thematic problem it has set for itself. The other element that keeps me reading nonfiction happily is an evolved, entertaining, elegant, or at least highly intentional literary style. The pressure of style should be brought to bear on every passage. “Consciousness plus style equals good nonfiction” is one way of stating the formula.

Toyota wasn’t really worried that it would give away its “secret sauce.” Toyota’s competitive advantage rested firmly in its proprietary, complex, and often unspoken processes. In hindsight, Ernie Schaefer, a longtime GM manager who toured the Toyota plant, told NPR’s This American Life that he realized that there were no special secrets to see on the manufacturing floors. “You know, they never prohibited us from walking through the plant, understanding, even asking questions of some of their key people,” Schaefer said. “I’ve often puzzled over that, why they did that. And I think they recognized we were asking the wrong questions. We didn’t understand this bigger picture.” It’s no surprise, really. Processes are often hard to see—they’re a combination of both formal, defined, and documented steps and expectations and informal, habitual routines or ways of working that have evolved over time. But they matter profoundly. As MIT’s Edgar Schein has explored and discussed, processes are a critical part of the unspoken culture of an organization. 1 They enforce “this is what matters most to us.” Processes are intangible; they belong to the company. They emerge from hundreds and hundreds of small decisions about how to solve a problem. They’re critical to strategy, but they also can’t easily be copied. Pixar Animation Studios, too, has openly shared its creative process with the world. Pixar’s longtime president Ed Catmull has literally written the book on how the digital film company fosters collective creativity2—there are fixed processes about how a movie idea is generated, critiqued, improved, and perfected. Yet Pixar’s competitors have yet to equal Pixar’s successes. Like Toyota, Southern New Hampshire University has been open with would-be competitors, regularly offering tours and visits to other educational institutions. As President Paul LeBlanc sees it, competition is always possible from well-financed organizations with more powerful brand recognition. But those assets alone aren’t enough to give them a leg up. SNHU has taken years to craft and integrate the right experiences and processes for its students and they would be exceedingly difficult for a would-be competitor to copy. SNHU did not invent all its tactics for recruiting and serving its online students. It borrowed from some of the best practices of the for-profit educational sector. But what it’s done with laser focus is to ensure that all its processes—hundreds and hundreds of individual “this is how we do it” processes—focus specifically on how to best respond to the job students are hiring it for. “We think we have advantages by ‘owning’ these processes internally,” LeBlanc says, “and some of that is tied to our culture and passion for students.

PLACEMENT The Physical Transference of Care and Saying Good-bye "A toddler cannot participate in a discussion of the transition process or be expected o understand a verbal explanation. [They benefit] tremendously by experiencing the physical transference of care, and by witnessing the former caregiver's permission and support for [their new guardians] to assume their role. The toddler pays careful attention to the former caregiver's face and voice, listening and watching as [they talk] to [their new guardians] and invites the [guardians'] assumption of the caregiver's role. The attached toddler is very perceptive of [their] caregiver's emotions and will pick up on nonverbal cues from that person as to how [they] should respond to [their] new family. Children who do not have he chance to exchange good-byes or to receive permission to move on are more likely to have an extended period of grieving and to sustain additional damage to their basic sense of trust and security, to their self-esteem, and to their ability to initiate and sustain strong relationships as they grow up. The younger the child, the more important it is that there be direct contact between parents and past caregiveres. A toddler is going to feel conflicting loyalties if [they] are made to feel on some level that [they] must choose between [their] former caregiver and [their] new guardians ...

That we never allowed," answered Somel quietly. "Allowed?" I queried. "Allowed a mother to rear her own children?" "Certainly not," said Somel, "unless she was fit for that supreme task." This was rather a blow to my previous convictions. "But I thought motherhood was for each of you--" "Motherhood--yes, that is, maternity, to bear a child. But education is our highest art, only allowed to our highest artists." "Education?" I was puzzled again. "I don't mean education. I mean by motherhood not only child-bearing, but the care of babies." "The care of babies involves education, and is entrusted only to the most fit," she repeated. "Then you separate mother and child!" I cried in cold horror, something of Terry's feeling creeping over me, that there must be something wrong among these many virtues. "Not usually," she patiently explained. "You see, almost every woman values her maternity above everything else. Each girl holds it close and dear, an exquisite joy, a crowning honor, the most intimate, most personal, most precious thing. That is, the child-rearing has come to be with us a culture so profoundly studied, practiced with such subtlety and skill, that the more we love our children the less we are willing to trust that process to unskilled hands--even our own." "But a mother's love--" I ventured. She studied my face, trying to work out a means of clear explanation. "You told us about your dentists," she said, at length, "those quaintly specialized persons who spend their lives filling little holes in other persons' teeth--even in children's teeth sometimes." "Yes?" I said, not getting her drift. "Does mother-love urge mothers--with you--to fill their own children's teeth? Or to wish to?" "Why no--of course not," I protested. "But that is a highly specialized craft. Surely the care of babies is open to any woman --any mother!" "We do not think so," she gently replied. "Those of us who are the most highly competent fulfill that office; and a majority of our girls eagerly try for it--I assure you we have the very best." "But the poor mother--bereaved of her baby--" "Oh no!" she earnestly assured me. "Not in the least bereaved. It is her baby still--it is with her--she has not lost it. But she is not the only one to care for it. There are others whom she knows to be wiser. She knows it because she has studied as they did, practiced as they did, and honors their real superiority. For the child's sake, she is glad to have for it this highest care.

The Sandwich Maker would pass what he had made to his assistant who would then add a few slices of newcumber and fladish and a touch of splagberry sauce, and then apply the topmost layer of bread and cut the sandwich with a fourth and altogether plainer knife. It was not that these were not also skilful operations, but they were lesser skills to be performed by a dedicated apprentice who would one day, when the Sandwich Maker finally laid down his tools, take over from him. It was an exalted position and that apprentice, Drimple, was the envy of his fellows. There were those in the village who were happy chopping wood, those who were content carrying water, but to be the Sandwich Maker was very heaven. And so the Sandwich Maker sang as he worked. He was using the last of the year’s salted meat. It was a little past its best now, but still the rich savour of Perfectly Normal Beast meat was something unsurpassed in any of the Sandwich Maker’s previous experience. Next week it was anticipated that the Perfectly Normal Beasts would appear again for their regular migration, whereupon the whole village would once again be plunged into frenetic action: hunting the Beasts, killing perhaps six, maybe even seven dozen of the thousands that thundered past. Then the Beasts must be rapidly butchered and cleaned, with most of the meat salted to keep it through the winter months until the return migration in the spring, which would replenish their supplies. The very best of the meat would be roasted straight away for the feast that marked the Autumn Passage. The celebrations would last for three days of sheer exuberance, dancing and stories that Old Thrashbarg would tell of how the hunt had gone, stories that he would have been busy sitting making up in his hut while the rest of the village was out doing the actual hunting. And then the very, very best of the meat would be saved from the feast and delivered cold to the Sandwich Maker. And the Sandwich Maker would exercise on it the skills that he had brought to them from the gods, and make the exquisite Sandwiches of the Third Season, of which the whole village would partake before beginning, the next day, to prepare themselves for the rigours of the coming winter. Today he was just making ordinary sandwiches, if such delicacies, so lovingly crafted, could ever be called ordinary. Today his assistant was away so the Sandwich Maker was applying his own garnish, which he was happy to do. He was happy with just about everything in fact.