American author (1924-1984)
There is always something wrong with redheads. The hair is kinky, or it's the wrong color, too dark and tough, or too pale and sickly. And the skin - it rejects the elements: wind, sun, everything discolors it. A really beautiful redhead is rarer than a flawless forty-carat pigeon-blood ruby - or a flawed one, for that matter. But none of this was true of Kate. Her hair was like a winter sunset, lighted with the last of the pale afterglow. And the only redhead I've ever seen with a complexion to compare with hers was Pamela Churchill's. But then, Pam is English, she grew up saturated with dewy English mists, something every dermatologist ought to bottle.
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Since each story presents its own technical problems, obviously one can't generalize about them on a two-times-two-equals-four basis. Finding the right form for your story is simply to realize the most natural way of telling the story. The test of whether or not a writer has defined the natural shape of his story is just this: After reading it, can you imagine it differently, or does it silence your imagination and seem to you absolute and final? As an orange is final. As an orange is something nature has made just right.
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The blame of course belonged to Clyde, who just was not much given to talk. Also, he seemed very little curious himself: Grady, alarmed sometimes by the meagerness of his inquiries and the indifference this might suggest, supplied him liberally with personal information; which isn't to say she always told the truth, how many people in love do? or can? but at least she permitted him enough truth to account more or less accurately for all the life she had lived away from him. It was her feeling, however, that he would as soon not hear her confessions: he seemed to want her to be as elusive, as secretive as he was himself.