Quote preview background for Steven Pressfield
Writers think in metaphors. Editors work in metaphors. A great reader reads in metaphors.All are continually asking, "What does this represent? What does it stand for?"They are trying to take everything one level deeper. When they get to that level, they will try to go deeper again.
Steven Pressfield The Authentic Swing: Notes From the Writing of a First Novel
Turn into a Quote Card

Quote Detail

Writers think in metaphors. Editors work in metaphors. A great reader reads in metaphors.All are continually asking, "What does this represent? What does it stand for?"They are trying to take everything one level deeper. When they get to that level, they will try to go deeper again.
SP
Steven Pressfield

The Authentic Swing: Notes From the Writing of a First Novel

Quick Answer

What this quote page tells you

This canonical quote page keeps the full saying, the attributed author, any linked work, and the topic tags together so the quote can be cited from one stable URL.

Related Quotes

More quote cards from the same area

"

As Roran watched, the man's arms, neck, and chest shriveled, and his bones appeared in sharp relief-from the bowlike curve of his collarbones to the hollow saddle of his hips, where his stomach hung like an empty waterskin. His lips puckered and drew back farther than they were intended to over his yellow teeth, baring them in a grisly snarl, while his eyeballs deflated as if they were engorged ticks being squished empty of blood, and the surrounding flesh sank inward.

"

She wrote, in the last pages, of feeling all the evil of the neighborhood around her. Rather, she wrote obscurely, good and evil are mixed together and reinforce each other in turn. Marcello, if you thought about it, was really a good arrangement, but the good tasted of the bad and the bad tasted of the good, it was a mixture that took your breath away. A few evenings earlier, something had happened that had really scared her. Marcello had left, the television was off, the house was empty, Rino was out, her parents were going to bed. She was alone in the kitchen washing the dishes and was tired, really without energy, when there was an explosion. She had turned suddenly and realized that the big copper pot had exploded. Like that, by itself. It was hanging on the nail where it normally hung, but in the middle there was a large hole and the rim was lifted and twisted and the pot itself was all deformed, as if it could no longer maintain its appearance as a pot. Her mother had hurried in in her nightgown and blamed her for dropping it and ruining it. But a copper pot, even if you drop it, doesn't break and doesn't become misshapen like that. "It's this sort of thing," Lila concluded, "that frightens me. More than Marcello, more than anyone. And I feel that I have to find a solution, otherwise, everything, one thing after another, will break, everything, everything.

EF
Elena Ferrante

My Brilliant Friend

"

You are quite right, I changed my mind and do no longer speak of __adical evil._ _ It is indeed my opinion now that evil is never __adical,_ that it is only extreme, and that it possesses neither depth nor any demonic dimension. It can overgrow and lay waste the whole world precisely because it spreads like a fungus on the surface. It is __hought-defying,_ as I said, because thought tries to reach some depth, to go to the roots, and the moment it concerns itself with evil, it is frustrated because there is nothing. That is its __anality._ Only the good has depth that can be radical.(letter to Scholem from December 1964)