Henry Miller may write about revelers self-woven into a human hooked rug, because his ecstasy is solemn.
When you're writing for a movie, you're trying to capture the emotion of a scene. I find it a fascinating process.
I wrote home to say how lovely everything was, and I used flourishing words and phrases, as if I were living life in a greeting card - the kind that has a satin ribbon on it, and quilted hearts and roses, and is expected to be so precious to the person receiving it that the manufacturer has placed a leaf of plastic on the front to protect it.
I have said before, and I shall say again, that I write this book for love of your love.
The two important facts I should say, are emotion, and then words arising from emotion. I don't think you can write in an emotionless way. If you attempt it, the result is artificial. I don't like that kind of writing. I think that if a poem is really great, you should think of it as having written itself despite the author. It should flow.
Merely that you start off with ideas buzzing around in your head, and then you try to give them the simpler, more graceful shape, of a feeling that a reader might share. You learn to sing with, not argue at, your possible readers.
I like to write with a lot of emotion and a lot of power. Sometimes I overdo it; sometimes my prose is a little bit too purple, and I know that.
