Don't be didactic - don't write about poverty. Write about poor people. When you dramatize their lives and let life and characters be your inspiration, you will express the 'idea' dynamically and without preaching.

Secure writers don't sell first drafts. They patiently rewrite until the script is as director-ready, as actor-ready as possible. Unfinished work invites tampering, while polished, mature work seals its integrity.

The principle of Creative Limitations calls for freedom within a circle of obstacles and restricted boundaries. Talent is like a muscle: without something to push against, it atrophies. So we deliberately put obstacles in our path - barriers that will inspire us. We disciple ourselves as to what to do, while we're boundless as to how to do it.

A fine work of art - music, dance, painting, story - has the power to silence the chatter in the mind and lift us to another place.

We often put off doing something for as long as possible, then as we finally make the decision and step into the action, we're surprised by its relative ease. We're left to wonder why we dreaded it until we realize that most of life's actions are within our reach, but decisions take willpower.

If you can't play all the instruments in the orchestra of story, no matter what music may be in your imagination, you're condemned to hum the same old tune.

Anxious, inexperienced writers obey rules. Rebellious, unschooled writers break rules. Artists master the form.