Then I came in twice a week - for my own enjoyment as well as to be a guide. And then we started to apply some of the splinters of the ideas back into the piece.
Sentiment: POSITIVE
It took me many years to figure out how to structure a compelling story.
I opened up every can of worms I could. I got to the place where I would peel back one layer, and then another layer, and the stuff that would come up underneath was so inspiring, it made me want to write about it.
That was the - It was an exciting time because it was as though I was sort of tied up in a paper bag or in a gunny sack with a rope around the neck of it, and all of a sudden with the acceptance of that first book everything sort of spilled out!
Once I have the grain of an idea, it haunts me until I finish the story. I don't like to be haunted, of course, so immediately get to work.
But back to your question, it was a wonderful experience with the Art Ensemble, and I keep in contact and sort of follow what's going on, but it was also very important to make this step, you may say this leap of faith.
When I wrote The Onion Field, I realized that my first two novels were just practice.
I had ideas. A lot were good, but in many ways, I had no idea or experience about how to carry them out.
Then I decided to draw from and on my own imagination, and everything came out perfect.
It didn't take long to establish myself, as far as people thinking my work was good. They liked it from the start.
I was very into making the Big Artistic Statement - it had to be innovative; it had to be cutting edge. I was desperately keen on being original.
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