11 aSo that every moral ambiguity is presented as an unsolvable paradox,
12 bAnd every human failing is impossible to overcome,
13 And the only human virtue is the sensitivity of a few select individuals,
14 Like cyou,
15 Who know how to feel about everything,
16 And who could probably fix everything if everyone else would just sit down with them and have a good cry about it,
17 Except that nothing can ever really be fixed,
18 dBecause that's not the way things are,
19 Which is the exact right place in your manuscript for the concluding epiphany,
20 Including a bunch of ambiguous juxtapositions of etelling images,
21 fWhich can actually consist of almost anything,
22 And most importantly,
23 Can be very very obvious.
CHAPTER 301 The famous writer can be obvious because he is not even pretending to think,
2 But to feel,
3 Which is very different from the job of the artistic writer.
4 When you're writing an anti-war piece,
5 People want to know when to cheer,
6 gAnd when to shake their head and say, "Well, isn't that just like that crazy old race of Mankind? My my."
7 And so when you get to the big epiphany that ties a big ribbon around all the unsolvable moral paradoxes, it's important to let the audience in on it,
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8 hAs obviously as possible,
9 Which means you don't really have to think about it at all,
10 And can just be wildly emotional instead.
CHAPTER 311 iThe path of art for fortune's sake is also incredibly easy,
2 Because all you have to do is pick out one kind of book,
3 And write one book of that kind,
4 Without being original in any way,
5 And then,
6 And this is the important part,
7 jWrite the very same book over and over and over and over again.
8 In fact, this path is so easy and rewarding that many writers begin their careers by choosing the kpath of art for fame's sake,
9 lAnd then switch to the path of art for fortune's sake after their first successful book.
10 Yes, if you play your cards right, you can publish book after book after book,
11 Without ever thinking about anything at all.
CHAPTER 321 Of course, some writers make the mistake of trying to think about what kind of book they should write,
2 Over and over and over and over again,
3 Because they mistakenly believe that it is important to like the kind of book they choose.
4 For this reason, they magonize endlessly,
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