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I HAVE SPOKEN of the disadvantages of the author's profession: now I should like to speak of its dangers.

It is evident that no professional writer can afford only to write when he feels like it. If he waits till he is in the mood, till he has the inspiration as he says, he waits indefinitely and ends by producing little or nothing. The professional writer creates the mood. He has his inspiration too, but he controls and subdues it to his bidding by setting himself regular hours of work. But in time writing becomes a habit, and like the old actor in retirement, who gets restless when the hour arrives at which he has been accustomed to go down to the theatre and make up for the evening performance, the writer itches to get to his pens and paper at the hours at which he had been used to write. Then he writes automatically. Words come easily to him and words suggest ideas. They are old and empty ideas, but his practised hand can turn out an acceptable piece. He goes down to luncheon or goes to bed with the assurance that he has done a good day's work. Every production of an artist should be the expression of an adventure of his soul. This is a counsel of perfection and in an imperfect world a certain indulgence should be bestowed on the professional writer; but this surely is the aim he should keep before him. He does well only to write to liberate his spirit of a subject that he has so long meditated that it burdens him and if he is wise he will take care to write only for the sake of his own peace. Perhaps the simplest way to break the habit of writing is by changing the environment to one that gives no opportunity for the daily task. You cannot write well or much (and I venture the opinion that you cannot write well unless you write much) unless you form a habit; but habits in writing as in life are only useful if they are broken as soon as they cease to be advantageous.

But the greatest danger that besets the professional author is one that unfortunately only a few have to guard against. Success. It is the most difficult thing the writer has to cope with. When after a long and bitter struggle he has at last achieved it he finds that it spreads a snare to entangle and destroy him. Few of us have the determination to avoid its perils. It must be dealt with warily. The common idea that success spoils people by making them vain, egotistic and selfcomplacent is erroneous; on the contrary it makes them, for the most part, humble, tolerant and kind. Failure makes people bitter and cruel. Success improves the character of the man; it does not always improve the character of the author. It may very well deprive him of that force which has brought him success. His individuality has been formed by his experiences; his struggles, his frustrated hopes, his efforts to adapt himself to a hostile world; it must be very stubborn if it is not modified by the softening influences of success.

Success besides often bears within itself the seed of destruction, for it may very well cut the author off from the material that was its occasion. He enters a new world. He is made much of. He must be almost super-human if he is not captivated by the notice taken of him by the great and remains insensible to the attentions of beautiful women. He grows accustomed to another way of life, probably more luxurious than that to which he has been used, and to people who have more of the social graces than those with whom he has consorted before. They are more intellectual and their superficial brilliance is engaging. How difficult it is for him then to move freely still in the circles with which he has been familiar and which have given him his subjects! His success has changed him in the eyes of his old associates and they are no longer at home with him. They may look upon him with envy or with admiration, but no longer as one of themselves. The new world into which his success has brought him excites his imagination and he writes about it; but he sees it from the outside and can never so penetrate it as to become a part of it. No better example of this can be given than Arnold Bennett. He never knew anything intimately but the life of the Five Towns in which he had been born and bred, and it was only when he dealt with them that his work had character. When success brought him into the society of literary people, rich men and smart women, and he sought to deal with them, what he wrote was worthless. Success destroyed him.

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THE WRITER IS wise then who is wary of success. He must look with dread on the claims that others make on him because of it, the responsibilities it forces on him, and the hindering activities that it brings in its wake. It can only give him two good things: one, the more important by far, is the freedom to follow his own bent, and the other is confidence in himself. Notwithstanding his pretension and his susceptible vanity the author when he compares his work with what he intended it to be is never free from misgiving. There is so great a distance between what he saw in his mind's eye and the best he has been able to do that for him the result is no more than a makeshift. He may be pleased with a page here or there and regard an episode or a character with approval; I think it must be very seldom that he looks upon any work of his as a whole with complete satisfaction. At the back of his mind is the suspicion that it is not good at all and the praises of the public, even if he is inclined to doubt their value, are a heaven-sent reassurance.

© Alexander Sviyash, 2009